论巴伯《小提琴协奏曲》的歌唱风格  

On the Singing Style of Barber's Violin Concerto

作　　者：彭松[1] 

机构地区：[1]武汉音乐学院附中讲师,武汉430060

出　　处：《黄钟（武汉音乐学院学报）》2009年第2期169-174,共6页Huangzhong:Journal of Wuhan Conservatory of Music

摘　　要：美国作曲家塞缪尔.巴伯(Samuel Barber,1910—1981)恪守自己的创作原则、创作风格,坚持表现自我内心的情感,追求旋律优美、可听性强的音乐效果,形成以歌唱性为主的特点。他创作的器乐作品的旋律具有鲜明的歌唱性,被评论家称为"没有歌词的旋律"。文章在以往研究的基础上,特别针对巴伯创作的唯一一首《小提琴协奏曲》为对象,并以最具代表性的第一乐章为蓝本,对乐曲中歌唱性风格的体现,如音乐体裁、结构、调式、调性等,及其小提琴的技术,如运弓速度、力度、动作等,进行客观地分析、论述和总结。American composer Samuel Barber lived during 20＇h century, and he pursued, throughout his career, a path marked by a vocally inspired lyricism. With the beautiful singing melody, his instrumental composition is called ＂the melody without words＂ by critic. The paper discussed Barber＇sViolin Concerto, op. 14, especially the first movement, analyzed its singing style with the music form, structure, modes, tonality, as well as the violin playing techniques, such as arco tempo, dynamics, action, and other skills.

关 键 词：塞缪尔·巴伯 小提琴协奏曲 歌唱性 

分 类 号：J622.1[艺术—音乐]