本文所要论述的风格,是指对乐曲所反映的时代特征的把握及演奏者在演奏过程中所表现出来的个性。论述这个问题的必要性在于:任何音乐作品如果与时代割裂,就丧失了历史依据,失去了社会意义。前苏联钢琴教育家涅高兹在批评他的学生时说:“这位女学生弹奏《十二平均律钢琴曲集》第一卷的《#c小调前奏》时,多愁善感地拖延音符,还加上矫揉造作的强弱变化,以致我所看到的不是巴赫的面貌,而是一位唱着令人毛发悚然的浪漫曲的小城镇上的夫人”(涅高兹《论钢琴表演艺术》54页)。从涅高兹尖锐的批评中,我们可以看到,涅高兹要求从《#c小调前奏》中看到巴赫的面貌(请注意不是原貌),而不是一位“唱着……的夫人”。那么这种尴尬的情形在二胡演奏或者其它的器乐演 The style to be discussed in this article refers to the grasping of the characteristics of the times reflected in the music and the individuality shown by the performer during the performance. The necessity of discussing this issue lies in the fact that if any musical piece is separated from the times, it loses its historical basis and loses its social significance. Former Soviet piano educator Niegosz criticized his students: “The girl sentimentally delayed the notes when she played the #c minor prelude to the first volume of the” Twelve Equestrian Piano “ It also adds to the change of strength and weakness, so that what I see is not the face of Bach, but a lady in a small town singing a gruff romance ”(Niegosz, on piano performance art “Page 54). From Nirvana’s sharp criticism, we can see that Nigodz demanded that Bach be seen from the prelude to ”#c minor notes“ (not the original appearance) rather than a ”lady singing“ ”. Then this embarrassing situation in erhu or other instrumental music