目 錄
摘要………………………………………………………………………………1
緒論………………………………………………………………………………2
1、演奏者的情緒培養…………………………………………………………2
2、演奏狀態中的心理培養……………………………………………………4
1、演奏狀態中的心理境界……………………………………………………4
2、演奏狀態中的內心視覺形象………………………………………………6
3、演奏狀態中的理智與感情的關係問題……………………………………8
3、演奏者的個性培養………………………………………………………8
1、培養個性的合理前提………………………………………………………8
2、個性的塑造…………………………………………………………………9
結束語 …………………………………………………………………………10
感謝辭…………………………………………………………………………10
註釋……………………………………………………………………………11
參考文獻…………………………………………………………………………11
[摘 要] 揚琴演奏不單是技巧的運用，更重要的是1種很強的心理動勢。演奏者的心理境界直接影響到演奏技巧的發展、發揮與提高，自始至終引導著揚琴演奏的全過程。就揚琴演奏而言，表演者在演奏狀態中形成1定的.心理境界和內心視覺形象思維活動。不僅是演奏者人腦工作的基本方式，而且也是心理本身運動的基本方式，是表現樂曲主題和思想感情，塑造完美藝術形象的基本心理條件。
[關鍵詞] 心理境界 內心視覺形象 揚琴演奏 個性塑造
Abstract: playing dulcimer is not just need the skill, however the strong psychological activity is much more important. The player’s psychological compass can lead the process of playing by effecting the expanding, exerting and developing the skill. To playing dulcimer, the player forms some psychological compass and the thoughts of inner visible model during the playing. It is not only the way of human brain works, but also the way of psychology activities. It can express the themes and the ideas of the music. It is also a base psychological condition of forming perfect art vision.
Key words: Psychological compass Inner visible model
Playing dulcimer Personality figuration
