本文關(guān)鍵詞： 肖邦 小調(diào) 第一 鋼琴 協(xié)奏曲 研究　出處：《山東師范大學(xué)》2002年碩士論文　論文類型：學(xué)位論文

【摘要】： 肖邦(1810～1849)，波蘭19世紀(jì)著名鋼琴詩人。短短39年的一生中，肖邦向世人詮釋了“詩人”、“浪漫”、“鋼琴”、“故鄉(xiāng)”。鋼琴是肖邦創(chuàng)作的主要載體，而肖邦的創(chuàng)作又拓寬了鋼琴的表現(xiàn)力。e小調(diào)第一鋼琴協(xié)奏曲是他一生中最重要的作品之一，也是最能夠體現(xiàn)他獨(dú)特的浪漫主義情懷的作品。從此曲的曲式、結(jié)構(gòu)框架等方面可以看出：作者在樂曲中大段運(yùn)用了巴赫、貝多芬等古典大師的典型創(chuàng)作手法，因此無法回避作者對古典主義審美理念的尊崇；但是樂曲內(nèi)部的細(xì)致構(gòu)思所確切表達(dá)出作者的心情，使肖邦獨(dú)特的浪漫主義情懷歷久彌新。 第一樂章，雙呈示部奏鳴曲式。此樂章的曲式是非常古典的，由管弦樂隊(duì)演奏第一呈示部，預(yù)示著鋼琴的各個主題；第二呈示部由鋼琴奏出；再現(xiàn)部中對樂隊(duì)和鋼琴做了縮減與結(jié)合。而對浪漫主義詩情畫意的表現(xiàn)始終貫穿著樂曲的始終，其典型代表就是樂章中對浪漫主義“長短句式”的頻繁運(yùn)用。 第二樂章，變奏曲式，浪漫曲。體裁上屬于接近于夜曲的作品，著重于描寫安靜的背景下內(nèi)心細(xì)微情感的“獨(dú)白”。樂曲基于對主要主題的初次呈示與兩次變奏，運(yùn)用了多種細(xì)膩的主題發(fā)展手法，使得這個樂章能夠表達(dá)作者的深深愛意。 第三樂章，雙主題回旋曲式。這是一個對民間風(fēng)情表達(dá)的樂章，樂章中貫穿始終的回旋中心是作為波蘭三大民間音樂基石之一的“克拉科夫舞曲”。幾個插部的寫作致力于對鋼琴技巧的炫技性表現(xiàn)，對演奏者的要求非常之高。同時，，此樂章中給予管弦樂隊(duì)部分以極大的表現(xiàn)空間，使作品得以達(dá)到鋼琴與樂隊(duì)“競奏”意義上的高度。
[Abstract]:Chopin 1810, 1849, Poland in 19th century, a famous piano poet. In a short life of 39 years, Chopin interprets "poet", "romance", "piano" to the world. "hometown". Piano is the main carrier of Chopin's creation, and Chopin's creation broadens the expression of piano. Piano Concerto No. 1 in E minor is one of the most important works in his life. From the music form, structure framework and other aspects can be seen: the author used Bach, Beethoven and other classical masters in the typical creative techniques. Therefore, it is impossible to avoid the author's respect for the classical aesthetic idea; But the detailed conception of the music accurately expresses the author's mood, which makes Chopin's unique romantic feelings last forever. The first movement, double presentation sonata form. The composition of this movement is very classical, by the orchestra playing the first presentation, foreshadowing the various themes of the piano; The second presentation section is played by the piano; In the reproduction section, the band and the piano are reduced and combined. But the expression of romantic poetry always runs through the music, and its typical representative is the Romantic "long and short sentence pattern" in the movement. The frequent use of The second movement, variations, romantic music. Genre is close to the Nocturne works. The monologue, which focuses on describing subtle emotions in the quiet background, is based on the initial presentation and two variations of the main themes, and uses a variety of delicate thematic development techniques. So that this movement can express the author's deep love. The third movement, the twin-theme cycle. This is an expression of folk customs. The center of rotation throughout the movement is "Krakow Dance", one of the three cornerstones of Polish folk music. The writing of several interludes is devoted to the dazzling performance of piano skills. At the same time, this movement gives the orchestra a great space of performance, so that the work can reach the height of the piano and the band's "competition".
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2002
【分類號】：J657.41

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前3條

1 張熠;肖邦《第三鋼琴奏鳴曲》創(chuàng)作研究[D];陜西師范大學(xué);2008年

2 楊柳;肖邦《e小調(diào)第一鋼琴協(xié)奏曲》的創(chuàng)作與演奏分析[D];東北師范大學(xué);2009年

3 張艷艷;美學(xué)視閾中的肖邦鋼琴協(xié)奏曲慢板樂章之研究[D];河北師范大學(xué);2009年

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