--感谢华东师大艺术系硕士研究生徐进提供并整理该文资料－洪啸音乐教育工作站--

首都师范大学 硕士论文 导师：吴铁英

中文摘要 《夕阳箫鼓》、《阳关三叠》和《梅花三弄》是三首根据中国古典乐曲改编的钢琴音乐作品，由于它们具有鲜明的民族风格和现代钢琴音乐特征，已经成为中国钢琴音乐的精品，深受广大人民的喜爱。本文在大量文献检索、深入地理论分析和个人演奏实践的基础上，对三首钢琴音乐作品进行了研究。文章简要回顾了三首中国钢琴作品产生的时代背景，论述了三首钢琴作品产生的意义；对三首钢琴作品的由来、改编和标题、题材、主题进行了介绍；运用音乐理论对三首钢琴作品和声和织体方面的特点，进行了具体分析；从节奏、指法、装饰音、触键方法、踏板使用等五个方面，详细的诠释了演奏技巧；通过如何把握演奏思维、情绪表达、神韵表现三个方面，说明了如何进行音乐表现；还从乐感培养、技能训练和演奏心理三方面，讲述了钢琴改编作品教学的要求。通过本文写作，试图让人们从理论和实践(演奏和教学)两个层面，对钢琴改编作品的风格和特点有一个系统、全面的了解，正确认识中西音乐文化的矛盾与融合的事实，恰当处理创作和演奏中传承与创新的关系，为民族音乐和钢琴教育事业的发展，尽一点绵薄之力。  

英文摘要 xiyangxiaogu ", "yangguansandie "and "meihuasannong " was rearranged for piano from Chinese classical music. They have become splendid works of Chinese piano music by their distinct national style and features, which have established their magnificent position in the development history of Chinese piano music. This research of the three music pieces is based on a quantity of document indices, in-depth theoretical analysis and personal playing. It touches upon the brief history of piano music in China and the background of these three music pieces' development, argues the significance of composing them, introduces the origin, adaptation, title, subject matter and themes of these three works. It also draws a detailed analysis of such features as of harmony and texture of them. At the same time, it makes ~ specific annotation on the playing technique from the following five aspects: rhythm, figuring, ornaments, means of touching, and using of pedal. It points out how to express music in three aspects of grasping the playing thoughts, conveying the emotion and expressing the lingering charm. It shows us the requirements on teaching the adapted music works by the three aspects of music sense cultivation, technique training, and playing psychology. This article aims to help people have a systematical and all-over understanding on the styles and characteristic of these three music works adapted for piano, to help them have a correct knowledge of the contradiction and confusion between Chinese and Western music culture and handle the inheritance and innovation in the process of composing and playing. By this, I wish to do a little effort for the development of China music and piano teaching.