竹笛演奏的“音準(zhǔn)”諸要素探究_20199.pdf

1、摘要在中國(guó)文化事業(yè)不斷發(fā)展的今天，竹笛作為一件具有悠久歷史的民族樂(lè)器，也走上了快速的發(fā)展步伐。然而，在演奏舞臺(tái)上，一些演奏竹笛者們出現(xiàn)了“音不準(zhǔn)”的現(xiàn)象，本文闡明了竹笛的發(fā)展歷史及沿革，介紹了竹笛自古以來(lái)的形制與音律的關(guān)系。“工欲善其事，必先利其器?！氨疚牡谝徽掠商暨x一個(gè)好的竹笛開(kāi)始，介紹了竹笛物理屬性(竹笛的制作材料)與大氣環(huán)境(溫度、濕度)對(duì)竹笛音準(zhǔn)的影響，說(shuō)明了演奏者在演奏時(shí)，應(yīng)該注意的一些實(shí)際問(wèn)題。本文第二章介紹了竹笛演奏氣息因

2、素對(duì)竹笛演奏音準(zhǔn)的影響，依照朱載墑所載“俯仰之道”對(duì)演奏竹笛風(fēng)門的大小、氣息的流量、氣息角度對(duì)于竹笛的影響等做出了全面的綜述，強(qiáng)調(diào)演奏中的氣息控制對(duì)音準(zhǔn)的決定性影響；本文第三章借鑒律學(xué)以及調(diào)式學(xué)的基本知識(shí)，介紹了常用的三種律，即十二平均律、五度相生律、純律。以及三律并用的“混合律”了解了這三種律的相互關(guān)系，并能靈活運(yùn)用，對(duì)于掌握良好的竹笛音準(zhǔn)無(wú)疑是非常重要的。在本文第三章時(shí)，筆者提出了根據(jù)三種律的律差，提出了“客觀音高”與“調(diào)式音高”以

3、及在竹笛音準(zhǔn)中的重要作用。第四章釋疑單個(gè)竹笛轉(zhuǎn)調(diào)的歷史沿革，以及竹笛改革形式后的竹笛轉(zhuǎn)調(diào)技法，并列出圖表，與“絕對(duì)音高”與“調(diào)式音高“相結(jié)合，使讀者一目了然。得出在演奏竹笛時(shí)，不光要注意竹笛的物理屬性和氣息控制，還需從根本上掌握調(diào)式以及律的相關(guān)知識(shí)，與之相結(jié)合，靈活運(yùn)用，才能掌握較好的竹笛音準(zhǔn)的結(jié)論。關(guān)鍵詞竹笛律氣息因素差異性客觀音高調(diào)式音高AbstractlntheChineseculturedevelopmenttodaybambo

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