【摘要】： 路德維希、凡、貝多芬(1770—1827)德國，是他那個時代最偉大的作曲家�！兜诰沤豁懬肥撬砟甑捏@世之作，開創(chuàng)了浪漫主義音樂的先河。其末樂章，《歡樂頌》，不僅首次把人聲引進了交響樂，而且也表達了他的自由思想，唱詞采用了席勒宣揚自由、民主思想的詩歌《歡樂頌》。在18、19世紀的詩歌創(chuàng)作中，“自由”和“歡樂”是可以互相替代的，席勒創(chuàng)作的《歡樂頌》實際上歌頌的就是自由，，因此本文從貝多芬的自由觀出發(fā)，對《歡樂頌》進行了研究。 本文共分為四個部分：第一部分縱向研究了貝多芬自由觀產(chǎn)生的時代、社會、家庭等原因，其中創(chuàng)新的提出了當時藝術家的社會地位底下，也是貝多芬渴望自由的潛在原因；第二部分，論述了貝多芬和席勒詩歌的淵源關系，相同的理想和人生遭遇使得貝多芬得以在其晚年的頂峰之作中，采用席勒的詩歌《歡樂頌》，歌頌自己及全人類的自由理想；第三部分是貝多芬寫作《歡樂頌》的歷程和《第九交響曲》的創(chuàng)作背景；第四部分從合唱的引進手法(人聲引進交響樂)、曲式結構特征方面對《歡樂頌》進行了詳細的分析，還從合唱指揮方面應注意的幾個主要問題(語言、曲式和指揮的案頭分析)及首演情況等方面進行了論述。 通過《歡樂頌》的研究，證明了對自由和歡樂的追求伴隨了貝多芬整整一生的道路。
[Abstract]:Ludwig, van, Beethoven (1770-1827), Germany, was the greatest composer of his time. His final movement, "Ode to Joy", not only introduced voice into the symphony for the first time, but also expressed his free thought. "Freedom" and "joy" can be replaced by each other in the 1819 ~ (th) century poetry creation. Schiller's "Ode to Joy" is actually a song of freedom. Therefore, this paper studies "Ode to Joy" from Beethoven's view of freedom. This paper is divided into four parts: the first part of the longitudinal study of Beethoven's concept of freedom of the era, society, family and other reasons, among which the creative proposed the artist's social status, but also Beethoven's desire for freedom of the potential reason; The second part discusses the relationship between Beethoven and Schiller's poetry. The same ideal and life experience make Beethoven use "Ode to Joy" in the peak of his old age to extol himself and the freedom ideal of all mankind. The third part is the history of Beethoven's "Ode to Joy" and the background of "Symphony No. 9". This paper also discusses the main problems (language, form and desk analysis of the conductor) and the first performance of the chorus conductor. The study of Ode to Joy proves that the pursuit of freedom and joy followed Beethoven's path throughout his life.
【學位授予單位】：西南師范大學
【學位級別】：碩士
【學位授予年份】：2003
【分類號】：J605

【引證文獻】

相關碩士學位論文 前1條

1 湯鑫;對貝多芬第八奏鳴曲和肖邦敘事曲的音樂內(nèi)容研究[D];東北師范大學;2007年

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