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正确的出发点 “若言琴上有琴声,放在匣中何不鸣?若言声在指头上,何不于君指上听?” 这首《琴诗》是苏轼所写的一篇深富哲理的论乐诗。虽然作者用的是发问的方式,好像诗中所述现象是一个不解之谜,其实,问题的答案已昭然若揭。诗人十分巧妙地通过“指”与“琴”的辨证关系。说明人与乐器是矛盾的对立统一:没有乐器,人不能凭空奏出音乐,反之,没有人,空有乐器也是枉然,二者缺一不可。但是这并不等于说人与乐器的简单相加即可奏效,没有乐器本身结构上的特点,没有人对乐器的有效控制,一句话,没有人与乐器的相互作用,就不可能产生出悦耳的音乐来。因此,要想成为一个专业演奏家,就必须以此为出发点,真正弄清楚在乐器上产生出音响的各个因素,充分认识人的肌体的功能和潜在的可能性,从二者的结合中找出最佳的演奏方法,并且目标明确和富有成效地去掌握正确的方法。否则,就会误入岐途。
The correct starting point, “if there is a piano sound on the piano, why not put in the box? If the voice on your finger, why not listen to your fingers?” The first “poem” is a deep philosophy written by Su Shi On the music of poetry. Although the author uses the way of asking questions, it seems that the phenomenon described in the poem is a puzzling mystery. In fact, the answer to the question has been very clear. The poet very cleverly passes the dialectical relationship between “finger” and “piano”. That man and the instrument is contradictory unity of opposites: There is no musical instrument, people can not play music out of thin air, on the contrary, no one, empty instruments are in vain, both indispensable. However, this does not mean that the simple addition of man and musical instrument can work. Without the structural characteristics of the musical instrument itself, no one has effective control of the musical instrument. In short, no one interacts with the musical instrument, Music come. Therefore, in order to become a professional performer, we must take this as a starting point to really understand the various factors that produce a sound on the instrument, fully understand the function and potential of the human body’s potential, from the combination of the two to find Out of the best playing method, and the goal is clear and effective to master the right way. Otherwise, it will go astray.