本文選題：室內(nèi)樂 + 小提琴��； 參考：《中央音樂學(xué)院》2011年碩士論文

【摘要】：在整個(gè)室內(nèi)樂的發(fā)展過程中,小提琴、鋼琴二重奏鳴曲是非常重要的體裁。室內(nèi)樂發(fā)展到古典主義末期,浪漫主義初期,勃拉姆斯成為室內(nèi)樂作品中貢獻(xiàn)最大的重要作曲家的典型代表之一。勃拉姆斯的室內(nèi)樂作品讓我們能夠清晰地認(rèn)識(shí)到室內(nèi)樂藝術(shù)的巨大魅力及其在歐洲音樂發(fā)展史中的重要地位和推動(dòng)作用。他的創(chuàng)作對(duì)于室內(nèi)樂創(chuàng)作和演奏的發(fā)展歷程具有無可厚非的積極意義和卓越貢獻(xiàn)。本人通過對(duì)鋼琴演奏藝術(shù)與室內(nèi)樂的學(xué)習(xí),就鋼琴演奏藝術(shù)在古典主義時(shí)期和浪漫主義時(shí)期的特點(diǎn),以勃拉姆斯《d小調(diào)小提琴奏鳴曲》(Op.108)為例,分析對(duì)其演奏的體會(huì)和感悟。 勃拉姆斯共創(chuàng)作了3首鋼琴與小提琴奏鳴曲,第3首《d小調(diào)鋼琴與小提琴奏鳴曲》創(chuàng)作于1886-1888年間,是題詞獻(xiàn)給他的好友漢斯·馮·彪羅的作品,也是他的最后一部鋼琴與小提琴奏鳴曲。全曲由四個(gè)樂章組成,結(jié)構(gòu)鮮明規(guī)模龐大,材料聯(lián)系緊密,內(nèi)涵豐富。第一樂章,快板,奏鳴曲式,兼有雙三部曲式、回旋曲式,省略展開部。主部主題主要由小提琴來演奏,鋼琴聲部擔(dān)任副部主題,音樂素材無論是在旋律或伴奏聲部都以變化多樣的節(jié)奏型呈現(xiàn),伴奏織體大量的后半拍進(jìn)入和插入式交替進(jìn)行,音程和弦的和聲也較復(fù)雜：第二樂章,富有歌唱性的柔板,省略展開部的奏鳴曲式,抒情性音樂風(fēng)格特征。主題大多由小提琴演奏,鋼琴聲部伴奏居多；旋律優(yōu)美動(dòng)人,給人以溫暖之感；第三樂章,奏鳴曲式,詼諧曲,以跳音動(dòng)機(jī)為主,短小精致的音樂形象。主題在鋼琴和小提琴兩聲部之間穿插進(jìn)行,鋼琴聲部以八度跳音、上下行琶音為主要素材,音樂風(fēng)格跳躍輕快又帶有些猜疑不安；第四樂章,激動(dòng)地急板,回旋奏鳴曲式,氣勢(shì)輝煌規(guī)模宏大,帶有貝多芬的風(fēng)格。有力的戲劇性矛盾沖突,角色對(duì)比鮮明,統(tǒng)一的六拍子節(jié)奏,音型以分解柱式和弦織體為主。鋼琴和小提琴在演奏中要把握好不同段落中音樂形象的角色變化。 總的來說,勃拉姆斯是浪漫主義時(shí)期的古典主義者。在創(chuàng)作上繼承了古典主義,發(fā)展了浪漫主義,把二者結(jié)合的相得益彰。和聲方面,變化多樣復(fù)雜,注重豐富的色彩性；曲式方面,多采用奏鳴曲式,及與傳統(tǒng)奏鳴曲式相似的三樂章或四樂章結(jié)構(gòu)；旋律方面,富有深刻動(dòng)人的抒情性；戲劇性方面,高潮往往出現(xiàn)在樂章的接近結(jié)尾處以及末樂章,在熱烈的氣氛中到達(dá)戲劇沖突的最高點(diǎn)。而針對(duì)勃拉姆斯創(chuàng)作的特征,我們?cè)谘葑鄷r(shí)要注意多方面的考慮,比如觸鍵層次的控制,踏板的運(yùn)用,旋律線條的把握,音樂角色的對(duì)比變化等等都需要從整體上做好充分的準(zhǔn)備和研究。 本文對(duì)4個(gè)樂章鋼琴部分的演奏特點(diǎn),就如何更好的結(jié)合音樂內(nèi)容與小提琴合作進(jìn)行了分析,通過在和I聲,節(jié)奏,調(diào)性,演奏風(fēng)格等方面的研究,并在鋼琴與小提琴合作中,結(jié)合小提琴音色柔美的特點(diǎn),鋼琴在音色調(diào)節(jié)控制上進(jìn)行了嘗試。針對(duì)作品中鋼琴聲部的音量平衡控制,很大程度上受到觸鍵方式,踏板運(yùn)用,對(duì)音樂的想象力,觸覺和聽覺等方面的影響,要想對(duì)作品進(jìn)行更深入的二度創(chuàng)作,就必須區(qū)別本作品的特殊性較其他作品的普遍性,深刻理解作品的豐富內(nèi)涵。本文針對(duì)該作品建立在古典主義技巧之上的浪漫主義抒情音樂處理進(jìn)行了研究和探索。筆者希望通過本文的研究能夠讓更多的人了解室內(nèi)樂鋼琴與小提琴合作的魅力所在。
[Abstract]:In the course of the development of the whole chamber music, the two ensemble of the violin and the piano is a very important genre. The chamber music has developed to the end of the classicism. In the early romanticism, Brahms became one of the typical representatives of the most important composers in the chamber music works. Brahms's chamber music works let us know clearly. The great charm of the art of chamber music and its important position and role in the history of European music development. His creation has an indisputable positive significance and outstanding contribution to the development of the creation and playing of the chamber music. I have done the piano performance in classicism through the study of the piano and indoor music. The characteristics of the period and the romantic period, taking Brahms's Violin Sonata in Brahms has created 3 Piano and Violin Sonatas, third Generally speaking, Brahms is a classicist in the romanticism period. He inherited the classicism, developed romanticism and combined the two together. In harmony, the changes were complex and rich in color; in the musical style, the sonata was used more, and the three movement or four music similar to the traditional sonata form. Chapter structure; melody, rich and dynamic Lyric; dramatic aspect, the climax often appears at the close end of the movement and the end of the movement, reaching the highest point of the dramatic conflict in a warm atmosphere. For the characteristics of Brahms's creation, we should pay attention to many considerations when playing, such as the control of the level of touching the key, The use of pedal, the grasp of melody lines, the contrast and change of musical roles and so on all need to be fully prepared and studied from the whole.
In this paper, the characteristics of the 4 pieces of the piano part of the music, how to better combine the music content and the violin cooperation is analyzed, through the I sound, rhythm, tonal, playing style and other aspects, and in the piano and violin cooperation, the violin tone of the soft features, the piano in the tone control control has been tried. The volume balance control of the piano sound part in the works is largely influenced by the way of touching the key, the use of the pedal, the influence on the imagination, the touch and the hearing of the music. In order to make a more deep two degree creation to the works, it is necessary to distinguish the universality of the work from the other works and understand the rich connotation of the work deeply. According to the study and exploration of the romantic lyric music treatment based on the classical techniques, the author hopes that more people can understand the charm of the cooperation between the piano and the violin.

【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J624.1

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本文編號(hào)：1798018

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