本文關(guān)鍵詞：《德彪西d小調(diào)大提琴與鋼琴奏鳴曲》結(jié)構(gòu)和演奏分析　出處：《中央音樂學(xué)院》2012年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 德彪西 《d小調(diào)大提琴與鋼琴奏鳴曲》 結(jié)構(gòu)與演奏分析

【摘要】：德彪西的《d小調(diào)大提琴與鋼琴奏鳴曲》,是20世紀(jì)杰出的大提琴作品,至今仍是大提琴音樂舞臺上不可或缺的必備曲目,大提琴演奏者的必學(xué)曲目。進行結(jié)構(gòu)和演奏分析,對準(zhǔn)確把握其風(fēng)格特征,更好詮釋該作品有重要意義。 本文首先總結(jié)、歸納了作曲家德彪西的生平、創(chuàng)作風(fēng)格和這首大提琴奏鳴曲的創(chuàng)作背景,探究了作曲家的創(chuàng)作意圖；其次,分析了3個樂章的材料布局、旋律和和聲等結(jié)構(gòu)特征,指出,該作品采用了古典曲式的材料布局,旋律上大多以簡短的、碎片式為主,并消除了節(jié)拍重音帶給旋律線條的阻礙,和聲上不再以傳統(tǒng)的功能性為主,而以突出和聲色彩為主要目的；最后,基于上述理論認(rèn)識,深入討論了其中的大提琴演奏技法和音樂處理,強調(diào)指出,練習(xí)中需注重跳弓、波弓、撥奏、近指板演奏、近琴馬演奏、泛音演奏、滑音演奏等多種非常規(guī)演奏技巧的熟練運用,演奏中應(yīng)夸大力度對比,突出色彩和情緒變化。 《d小調(diào)大提琴與鋼琴奏鳴曲》,保留了朦朧、縹緲、細(xì)膩等典型的印象主義特征,同時包含了傳統(tǒng)古典主義的回歸,充分體現(xiàn)了德彪西該時期作品獨特的風(fēng)格特點。
[Abstract]:Debussy's cello and piano sonata in d minor is an outstanding cello work in 20th century. It is still an indispensable repertoire on the cello music stage. The analysis of the structure and performance of cello players is of great significance to accurately grasp the characteristics of their style and to better interpret the works. This paper first summarizes the life of composer Debussy, the creation style and the creation background of this cello sonata, probes into the composer's creative intention; Secondly, the material layout, melody and harmony of the three movements are analyzed, and it is pointed out that the material layout of the classical music is used in this work, and the melody is mostly short and fragmented. And eliminated the rhythm stress to bring the melody line the barrier, the harmony is no longer based on the traditional function, but to highlight the harmony color as the main purpose; Finally, based on the above theoretical understanding, the cello playing techniques and music processing are discussed in depth, and it is emphasized that we should pay attention to jumping bow, wave bow, dial playing, near finger board playing, near piano and horse playing, and overtone playing in practice. The skillful use of many kinds of unconventional playing skills, such as skidding performance, should be exaggerated and contrasted, and color and emotional changes should be highlighted. Cello and Piano Sonata in D minor. It retains the typical impressionist features such as obscurity, ethereal and exquisite, and also contains the return of traditional classicism. It fully reflects the unique style of Debussy's works in this period.
【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J622.3

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 黃奕;;“渲染”與“點彩”——比較分析德彪西《g小調(diào)小提琴與鋼琴奏鳴曲》與拉威爾《G大調(diào)小提琴與鋼琴奏鳴曲》的創(chuàng)作特點[J];黃河之聲;2011年15期

相關(guān)碩士學(xué)位論文 前6條

1 毛曉驊;德彪西《g小調(diào)弦樂四重奏》的創(chuàng)作技法研究[D];南京師范大學(xué);2004年

2 熊輝婧;論德彪西鋼琴音樂的東方色彩[D];華中師范大學(xué);2005年

3 胡t，

本文編號：1436901