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摘要


當今音樂演奏傷害相關議題,筆者深感重視並依據自身教學與演奏經驗提供參考的途徑。無論小提琴演奏技術如何,演奏中肢體所組成的動作皆受重力影響,並與地心引力息息相關,技術與相關平衡之作用力不可分割。本文主要以開發肢體,探究小提琴演奏與技術的相互調節與平衡,以探求作用力法則真正的本質和意理。 琴置於肩頸是影響小提琴技術的一個重要關鍵,經由頭、頸、背的平衡並達及全身才能使演奏揮灑自如,其正與亞歷山大技巧重點不謀而合,筆者試圖從中融合以解開自身經歷的疑惑及常見教學的迷思。小提琴美好的音色不僅只上肢對樂器的掌握就能獲得,而是全身參與。從外在姿態看和聆聽奏出的樂音,即可輕易辨別演奏者技術與肢體的協調性。因此,演奏與肢體動作相互和諧是奏出美好音樂的關鍵所在。 肢體平衡需從底層的足部,如同建築物的地基開始探索,本質上足部調整導致人體力學的全面調整。依生理機能,身體的各個部位環環相扣,主要以脊椎的正中排列檢視正確的演奏姿勢為重點。同時借重醫學相關知識,探究肢體所需求的平衡作為深層的剖析。無論演奏為初學或高水平程度,皆需追溯根源來認知姿勢所造成的因和果,以預防音樂演奏傷害。期盼藉此拋磚引玉讓更多人投入並進一步深入研究,這是筆者最深切地期許。

並列摘要


Nowadays performance injuries are very serious topics. According to my own teaching and performing experiences, would like to offer some ways to approach this problem. Violin playing on the whole, regardless of different technical levels, combinations of movements and is always affected by gravity. The main purpose of this thesis intends to seeking the fundamental meaning and contents of the effectiveness through the developing of the body posture and searching the coordination and balancing in violin performance and technique. The way to hold the violin is a key issue in violin technique. The head, neck and back balance in technical manipulation just coincides with the principles of The Alexander Technique. In this respect, the author is trying to understand the puzzling problems and the common misconceptions in violin teaching. To produce a beautiful tone on the Violin is more than the involvement of both arms but the involvement and support of the whole body. From the outward posture and listening to the violin tone, one can easily detect the technique and the harmonious bodily functions of the player. Just as building a structure, the balance foundation is started from the bottom up. The adjustment of the feet is affecting the whole bodily function. The spine is the center of the body, and the different parts connected to it directly or indirectly are forming a complicated chain reaction to each other. In-depth analysis of related medical research will help to understand the supportive body balance. However from the beginning to the advanced level, all need try to find out the cause and effect in violin playing, to prevent and lessen the performing injuries. Hopefully this thesis will interest more people to take part in this study.

參考文獻


曾盛杰等。〈音樂演奏者之慢性傷害研究〉。復健醫學會雜誌,14,1986。
Bowman, W. Cognition and the body : Perspectives from music education. In L. Bresler (Ed.), Knowing bodies, moving minds : Towards embodied teaching and learning. Norwell, MA : Kluwer Academic, 2004.
Beament, James. The Violin Explained : Components, Mechanism, and Sound.Oxford: Clarendon Press, 1997.
Conable, Barbera. What every musician needs to know about the body : The practical application of body mapping to music making.2nd ed.. Portland, OR : Andover, 2000.
Edition Peters, 1997.

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