Syncopation Rubato在钢琴作品中的发展与应用  

Development and Application of Syncopation Rubato in Piano Works

作　　者：李莹菲 LI Yingfei(School of Music,George Mason University,Fairfax Virginia,22030,USA)

机构地区：[1]乔治梅森大学音乐学院,美国弗吉尼亚州费尔法克斯22030

出　　处：《文化创新比较研究》2023年第27期1-5,共5页Comparative Study of Cultural Innovation

摘　　要：该文通过区别rubato与tempo rubato这两个术语,深入讨论并明确了Syncopation Rubato的使用归类和定义,且以在18—20世纪钢琴作品中的3个实际运用为例,从揣测作曲家真实作曲意图入手,以对比同一片段在不同时期的记谱方式,探讨钢琴与乐队的音响关系为主要分析手段,阐述了syncopation rubato从个人风格化的演奏惯例向广泛使用的作曲技法转变这一过程。该文的主要目的是通过介绍syncopation rubato的发展和运用特点,以实际钢琴作品中的示例警醒现代演奏者重视即兴演奏和音乐风格个人化这两项技能的缺失。同时从增强个人对syncopation rubato的敏感度和运用熟练度,讨论了syncopation rubato对现代演奏者的意义。Based on the definition of Syncopation Rubato and its application in piano works from the 18th to the 20th century,this paper discusses the transformation process of syncopation rubato from a personal performance practice to a widely used composing technique by speculating on the composer's real composing intention.According to the characteristics of its development and application,the significance of syncopation rubato to modern players is discussed from two aspects:alertness to the lack of improvisation and the personalization of music style,and enhancement of individual sensitivity and proficiency of syncopation rubato.

关 键 词：Syncopation rubato 作曲技法 钢琴演奏 表演实践 18—20世纪钢琴作品 RUBATO Tempo rubato 

分 类 号：J624.1[艺术—音乐] J614