民族管弦乐队的配器特征分析

民族管弦乐队和西方管弦乐队在配器方面有着不少共同点,但是二者的差异性也是比较明显的。研究民族管弦乐队在配器方面体现出来的独特性,有助于促进民族音乐艺术的发展,推动民族管弦乐队的创新改进,使得乐队在发展过程当中与时俱进,满足民族音乐事业的长足发展要求。民族管弦乐队在配器方面的特点主要体现在个性原理和个性写作这两个方面。对两个方面展开归纳分析,有助于概括获得民族管弦乐队独特的配器特点,奠定乐队配器发展和创新的基础,也奠定理论上的完善基础。     

基于传统配器法的电脑音乐制作研究

在电子技术的不断发展的当下,音乐配器制作领域已经开始突破固有藩篱,逐渐取代传统的配器模式和方法.然而若仅从声化处理和织体化处理的角度来看,电子音乐制作与传统配器法之间仍有共通性.为了对音乐配器的实质做更深一步的了解,为了让电音配器处理有更直观的参照.故而文章以传统配器法的原理和使用方法为基础,从织体编配、音色组合以及声相平衡处理等多方面入手分析,提出相关观点与见解,为电子音乐制作者提供借鉴.     

拉威尔乐队歌曲《舍赫拉查德》和声、意境与配器

乐队歌曲《舍赫拉查德》(Shéhérazade)是拉威尔的早期作品,总共有三首歌曲组成,分别为《亚细亚》(Asie)、《魔笛》(La flǖte enchantée)、《陌生的人》(L’indifférent)。本文将从配器以及和声分析的角度,对作品在配器方面的相关特点进行研究,并分析配器手法与和声、歌词意境三者间如何进行紧密结合,来完成对作品的整体构建。     

拉威尔《图画展览会-杜伊勒里宫花园》配器分析

《图画展览会》是俄国作曲家穆索尔斯基于1874年根据亡友画家哈尔特曼的遗作展览会而创作的一部杰出的钢琴组曲。这部作品不但是众多钢琴家们的舞台保留曲目,也引起很多作曲家对于管弦乐形式改编的兴趣。其中最为著名的当属法国作曲家拉威尔1922年配器的管弦乐版。《杜伊勒里宫花园》是这部作品的第三首,本文试图从配器的角度出发,对音色、力度、织体等方面进行分析,以求对配器的学习者提供技术参考。     

变奏曲式结构的室内乐的配器特点——以舒伯特《鳟鱼五重奏》第四乐章为例

运用变奏曲式结构写作的室内乐,由于同一主题不同变化,体现出联系与对比关系,在配器手法上更加集中体现出室内乐的配器特点。《鳟鱼五重奏》第四乐章是此类代表作之一。作者通过配器上的巧妙构思及编排,使音乐娓娓道来、高潮迭起,各段变幻统一又充满情趣,令聆听者难以忘怀。     

探析二次创作交响乐作品《红玫瑰》

交响乐《红玫瑰》是根据罗布人民歌《红玫瑰》进行二次再创作的交响乐作品,它根据乐队现有条件,巧妙的利用配器学,将传统乐器与现代乐器、民族乐器与西洋乐器融为一体。本文从作品分析、曲式分析、配器分析这三方面对作品进行深入的探究。     

论民族管弦乐队的配器特征

中国民族管弦乐队与西洋管弦乐队在配器法上有共通之处，但也有其自身独特的个性原理特征与个性写作特征，对这两个方面进行梳理、归类，可以概括出中国民族管弦乐队的配器特征，从而为民族管弦乐队配器创作的创新与提高提供了理论平台。     

我爱北京天安门(中班)

舞蹈动作说明与配器建议:①～②:原地踏步,两拍一下,共四次。(配器:圆舞板或小铃。)③:双手自胸前经头上向两侧打开,同时抖动手腕。(配器:铃鼓摇奏的同时向外侧划大弧。)④～⑥:同①～③。⑦:踏点步,第一、二拍右脚向右侧踏一步,同时双手向两侧打开。第三、四拍双手叉腰,左脚尖向右脚跟点两下,一拍一下。(配器:第一、二拍用铃鼓拍奏,第三、四拍用小铃或圆舞板。)     

斯特拉文斯基的音乐实践

通过对斯特拉文斯基音乐创作中的节奏、和声、配器、旋律和曲式结构方面进行分析,阐明了他是如何将其秩序与创造的美学思想付诸于音乐实践的.     

管弦乐曲《四小天鹅舞曲》的总谱分析

总谱分析是配器教学中的一个重要的不可忽视的环节。配器布局方法又与曲式、和声、乐曲意境等诸因素联系紧密,相辅相成。本文就柴科夫斯基的舞剧《天鹅湖》中《四小天鹅舞曲》的总谱做如下分析。我们先列出乐曲的结构图式,然后再逐段进行分析。     

Long-Term Teacher Orchestration of Technology-mediated Collaborative Inquiry

This explorative case study longitudinally examines teacher orchestration of an inquiry learning process in a technology-enhanced elementary classroom. A 13-month investigative study on cultural artifacts was conducted on 32 fourth grade students who progressed to the fifth grade during the project. The activities were mediated and documented using Knowledge Forum, a technology-enhanced collaborative environment. Data were gathered from video recordings of whole-class sessions and the teacher’s reflective diary entries. The coding scheme for the video analysis focused on identifying the various orchestration events, while drawing on theory and data-driven qualitative content analysis. Six types of orchestration events effectively maintained the process during whole-class sessions. These events supported the advancement of knowledge, reflection on inquiry, and pragmatic organization of inquiry. The study also adopted CORTDRA diagrams that highlighted temporal aspects of the orchestration events throughout the project. Knowledge Forum enabled the longitudinal advancement of the project.     

Comparative analysis of musical abilities of 11-year-olds from Slovenia and the island of Martinique

The focus of the study is the comparison between the musical abilities of 11-year-old children on the island of Martinique and in Slovenia, and finding out to what extent their development of musical abilities is influenced by musical and cultural family background, music school attendance, choral singing and playing orchestral instruments. Our analyses showed statistically significant sample differences between the two countries in the comparison of the dependent variables (melodic, rhythmic and harmonic musical ear). Irrespective of the country, the tests showed that a strong musical and cultural family background, music school, choral singing and playing an orchestral instrument further the development of melodic, rhythmic and harmonic musical ear. The study led to some discoveries which will be used to improve music teaching in Slovenia, as the 11-year-olds on the island of Martinique show much better results. The research also indicated important sample differences that will result in a more successful development of musical abilities.     

论传统配器法在电脑音乐制作中的应用

传统配器法由于其历史起源与发展状况使得它与其他创作技法或者现代配器法有所区别,体现在音乐作品中的织体层次、音色编配以及音乐平衡等问题上.电脑音乐制作的特点则是可用音色范围的扩展、噪音层的出现以及“空间—立体感”这三个方面.即便它们各有特点,传统配器法却仍然能从织体层次的编配、音色的编配和音乐音响的平衡这三个方面来影响并应用到电脑音乐制作中去.     

The teacher and the tool: instrumental orchestrations in the technology-rich mathematics classroom

The availability of technology in the mathematics classroom challenges the way teachers orchestrate student learning. Using the theory of instrumental orchestration as the main interpretative framework, this study investigates which types of orchestrations teachers develop when using technology and to what extent these are related to teachers’ views on mathematics education and the role of technology therein. Data consisted of videotapes of 38 lessons taught by three teachers, who also provided information on their views through questionnaires and interviews. Qualitative analysis of these data led to the identification of orchestration types and teacher profiles. The orchestration preferences of the three teachers proved to be related to their views. A detailed analysis of one exemplary episode suggests how other theoretical perspectives might complement the theory of instrumental orchestration.     

Study orchestration: the manifestation,interpretation and consequences of contextualised approaches to studying

This paper sets out the conceptual and empirical basis for the concept of study orchestration. The manifestation of study orchestration at a group, and at an individual level, is illustrated by means of an example that captures the range of individual differences, and of individual similarities, that typically occur. The interpretation and the categorisation of study orchestration is discussed and further illustrated by means of examples, as are the linkages between such categorisations and learning outcome. Disintegrated orchestrations, in particular, are discussed and interpreted in more detail by means of interview data. Important properties of individual study orchestration such as their stability and their contextual sensitivity are then addressed in terms of their contribution to intervention programmes for students who may be academically at risk. This paper concludes with a discussion of the concept of metaorchestration which is seen as a logical development of the concept of metalearning and which is viewed as having important consequences in terms of intervention programmes.     

《春江花月夜》音乐绘画性的美学体现

音乐的描绘功能是表现音乐作品内容的手段之一。民族管弦乐曲《春江花月夜》运用了多种表现画面与视觉形象的描绘手法，勾画出一幅幅生动形象的画面，充分展现了描绘功能在音乐作品中塑造景物、创造意境的重要作用。     

论潮州大锣鼓的沿革和现状

潮州大锣鼓是以大鼓为中心和指挥,以各种锣钹等多种打击乐相配合,弦乐以唢呐等为主奏并配以管弦乐的大型合奏式音乐品种.它粗犷雄壮、气势磅礴,音乐格调绮丽清朗,司鼓指挥法和鼓点演奏法别具一格.     

关于白茆山歌改编的几点思考

当下,白茆山歌的曲调、语言和文化方面的研究较多,但为它改编的音乐作品较为少见;白茆山歌需要改编才能继续保持旺盛的生命力,改编形式应当多样化、专业化,可以改编为歌曲、钢琴曲、合唱曲和管弦乐曲等。     

Variation in learning orchestration in university biology courses

The manner in which students manage their learning activities in response to perceived task or course demands describes their 'learning orchestration'. This paper addresses relations between a student's learning orchestration and their learning outcome as a function of prior understanding in first year university biology courses. A cluster analysis of 272 Australian students revealed three different forms of learning orchestration - understanding, reproducing and disintegrated. In one cluster, students felt their environment was more supportive of deep approaches to learning and they adopted deeper approaches. They were the students who had the better prior understanding and they did best on measures of meaningful learning. However, less than one third of the students showed this coherent (and desirable) learning pattern. A second cluster of students showed a coherent but less desirable learning orchestration focused on more surface perceptions and approaches and they had significantly worse learning gains and achievement scores. The third cluster of students saw the learning environment as being more supportive of deep approaches, but, unlike the other groups, they did not adopt an approach consistent with their perception. We describe these students as having a disintegrated learning orchestration. A key finding is that the students with this orchestration also have very poor levels of prior knowledge and also have very poor achievement outcomes.