【摘要】：本文針對近百年來，歷史上對舒曼鋼琴套曲褒貶不一的評價，以及一些權(quán)威的音樂史書稱其為“結(jié)構(gòu)松散的套曲”的評論，通過對舒曼鋼琴套曲《蝴蝶》“形式自由”的體現(xiàn)及其必然性、其神韻的統(tǒng)一以及在演奏中如何把握其神韻這三方面的深入分析，，試圖挖掘其“超越形式而游于神韻”的藝術(shù)底蘊(yùn)，使人們對《蝴蝶》有更清晰、更深入、更全面的認(rèn)識，從而更全面準(zhǔn)確地把握舒曼鋼琴套曲的特點(diǎn)，在演奏中抓住其獨(dú)特的風(fēng)格。
[Abstract]:This article aims at the appraisal of Schumann's piano ensemble in the past hundred years, and some authoritative music history books call it "loosely structured suite". By analyzing the embodiment and inevitability of Schumann's piano suite "Butterfly" Freedom of form ", the unity of its charm and how to grasp its charm in performance are analyzed. It tries to dig out the artistic background of "transcending form and swimming in the charm", so that people have a clearer, deeper and more comprehensive understanding of Butterfly, so as to grasp the characteristics of Schumann's piano suite more comprehensively and accurately. Hold on to its unique style in playing.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2004
【分類號】：J657

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 劉怡冰;浪漫主義文學(xué)對舒曼鋼琴音樂創(chuàng)作的影響[D];湖南師范大學(xué);2008年

本文編號：2366497