發(fā)布時(shí)間：2018-11-01 18:58

【摘要】：德國(guó)作曲家、鍵盤(pán)音樂(lè)演奏家和音樂(lè)理論家約翰·庫(kù)瑙是巴洛克晚期德國(guó)音樂(lè)重要的代表人物之一,他是將器樂(lè)重奏的奏鳴曲變?yōu)殒I盤(pán)奏鳴曲的第一人。1700年出版于萊比錫的標(biāo)題奏鳴曲《幾個(gè)圣經(jīng)故事的音樂(lè)表現(xiàn)——6首奏鳴曲》,簡(jiǎn)稱《圣經(jīng)奏鳴曲》,被譽(yù)為早期標(biāo)題音樂(lè)創(chuàng)作的典范,此作品不僅影響了標(biāo)題音樂(lè)的發(fā)展進(jìn)程,也影響了之后的作曲家包括巴赫在內(nèi)的音樂(lè)創(chuàng)作理念,推動(dòng)了德國(guó)音樂(lè)的進(jìn)程和發(fā)展。六首奏鳴曲以六個(gè)舊約圣經(jīng)中的故事為依托,音樂(lè)創(chuàng)作手法沿用了自文藝復(fù)興時(shí)期以來(lái)所常用的詞語(yǔ)描繪手法,將音樂(lè)作為一種語(yǔ)言表達(dá)方式對(duì)故事情節(jié)進(jìn)行生動(dòng)描繪,充分體現(xiàn)了巴洛克時(shí)期的音樂(lè)創(chuàng)作與結(jié)構(gòu)特點(diǎn)。本文立足于多重視角對(duì)庫(kù)瑙的這部作品進(jìn)行綜合性的分析和研究。全文共分為三個(gè)章,研究?jī)?nèi)容涉及庫(kù)瑙古鋼琴奏鳴曲的創(chuàng)作背景以及其個(gè)人的音樂(lè)創(chuàng)作歷程、《圣經(jīng)奏鳴曲》的標(biāo)題性及文學(xué)文本解讀、曲式結(jié)構(gòu)分類、音樂(lè)主題推進(jìn)手法、音樂(lè)性格的多元塑造、詞語(yǔ)描繪手法在作品中的體現(xiàn)等。第一章關(guān)注的是庫(kù)瑙古鋼琴奏鳴曲創(chuàng)作時(shí)的社會(huì)——?dú)v史環(huán)境、作曲家的生活背景和創(chuàng)作歷程；第二章論述了《圣經(jīng)奏鳴曲》中的標(biāo)題性特征及標(biāo)題類型劃分、六個(gè)圣經(jīng)故事溯源與《圣經(jīng)奏鳴曲》標(biāo)題文本選擇；第三章通過(guò)分析曲式結(jié)構(gòu)特征、音樂(lè)主題推進(jìn)手法、音樂(lè)性格多元塑造、詞語(yǔ)描繪手法等論述如何用音樂(lè)解讀圣經(jīng)；最后作為總結(jié)性的思考,在前三章的論述和分析基礎(chǔ)上綜合闡述庫(kù)瑙這部圣經(jīng)奏鳴曲作為最早的標(biāo)題音樂(lè)典范以及巴洛克時(shí)期推崇的詞語(yǔ)描繪手法的經(jīng)典范例,其產(chǎn)生的歷史地位與影響。
[Abstract]:John Kunau, a German composer, keyboard musician and music theorist, was one of the most important representatives of German music in late Baroque. He was the first person to turn instrumental sonatas into keyboard sonatas. Published in Leipzig in 1700, the title Sonata "the Musical performance of several Biblical stories", 6 Sonatas for short, "Biblical Sonata", were published in Leipzig. This work not only affected the development of title music, but also influenced the later composers, including Bach, and promoted the process and development of German music. The six sonatas are based on the stories in the six Old Testament bibles, and the musical creation techniques follow the usual lexical description techniques since the Renaissance, and use music as a way of expressing the story vividly as a way of expressing the story. Fully reflects the Baroque period of music creation and structural characteristics. This thesis is based on the comprehensive analysis and research of Kunau's work from multiple perspectives. The full text is divided into three chapters. The research covers the background of the creation of the Kunaugu piano sonata and its personal musical creation process, the title of the Sonata of the Bible and the interpretation of the literary text, the classification of the structure of the form, and the modus operandi of the music theme. The pluralistic shaping of musical character and the expression of words and expressions in the works. The first chapter focuses on the social-historical environment, the life background and the creative process of the composer in the creation of the Sonata for the piano. The second chapter discusses the title characteristics and classification of the title in the Bible Sonata, the tracing of six Bible stories and the choice of the title text of the Bible Sonata. The third chapter discusses how to interpret the Bible with music through the analysis of the structural characteristics of music, the modus operandi of musical themes, the plural shaping of musical personality and the techniques of describing words and phrases. Finally, as a summative reflection, on the basis of the discussion and analysis of the first three chapters, this paper comprehensively expounds that the Sonata of the Bible is the earliest model of title music and the classic example of the description of words and expressions advocated in the Baroque period. Its historical position and influence.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J624.1

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 葉莉斯;從音樂(lè)表意的角度看西方早期器樂(lè)語(yǔ)匯的形成[D];星海音樂(lè)學(xué)院;2013年

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本文編號(hào)：2304812