由不同形態合奏中論低音提琴的定位與演奏教學探究

A Study of the Role that Double Bass Plays in Different Shape Ensemble and the Techniques in Double Bass Teaching

鄭夙娟(Su-Chuan Cheng)

指導教授 ： 饒大鷗

國立臺北藝術大學/音樂學院/音樂系碩士在職專班音樂專業師資教育組/碩士(2007年)

https://doi.org/10.6835/TNUA.2007.00008

摘要

摘要

低音提琴這一項宜古宜今的樂器，無論是在文藝復興巴洛克時期的數字低音，或是古典時期交響曲式確立，或是浪漫時期管弦樂團的擴大編制、甚至是較少涵蓋低音提琴編制的室內樂，到現代的爵士樂中，低音提琴是扮演著甚麼角色、低音提琴演奏者對自己手上的樂器有甚麼樣的定位等等的議題在文中有所探究。
低音提琴是獨奏樂器，它的表現力在獨奏上，在近代突破了以往的技巧而有演奏新紀元。低音提琴更是合奏樂器，它的表現力在各種不同型態的合奏中，展現了它特有的穩定、敦厚、溫暖、圓潤的特質。
音樂的各項元素：節奏、旋律、和聲…以及樂曲本身的構成條件：作曲動機、曲式、時代背景、曲意…還有樂器演奏上的基本概念、技巧運用…等等，連結以上的各種要點作為低音提琴音樂教學的原則與方向；筆者以樂曲教學為範例去探討音樂學習者在音樂感知能力的發揮之重要性，以及在音樂教學的道路上給予自己更深切的提醒。

關鍵字

低音提琴

並列摘要

Throughout the western music history, the importance of the music instrument—Double Bass can’t be over-emphasized. From Renaissance era , Baroque era , classical era to 20 century modern jazz music , this instrument has always played a very important role in music Industry. However , this instrument is not like solo instrument ,like violin , always draw people’s attention. The main job for this instrument is to accompany solo instrument such as violin , piano ,etc. The importance of double bass is somewhat under-estimated. Since the importance of this instrument is not so popular, the main topic of this paper is to discuss the importance of this instrument in music field.

Also, I want to discuss what kind of role a bass player plays in ensemble , and hopefully more people will start to recognize the importance of double bass as a accompany instrument.

Besides that, the process in teaching bass also plays an important part in this paper. I want to discuss the music education in double bass. I tried to use various elements in music in composition and playing , such as motive , form , cultural background , playing technique in my teaching . In effect , I try to use different concepts mentioned as my guidelines when I teach my bass student . The results of this new teaching method will be discussed in this paper.

並列關鍵字

Double Bass

參考文獻

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Jaques-Dalcroze, E. Rhythmic And Pianoforte Improvisation. New York: Music and Letter, 1932.