【摘要】： 古典主義時(shí)期與浪漫主義時(shí)期是歐洲音樂歷史中的兩個(gè)重要時(shí)期，“古典主義”精神與“浪漫主義”精神分別在當(dāng)時(shí)得到最豐滿的體現(xiàn)。既然十八世紀(jì)古典主義音樂極具藝術(shù)價(jià)值，為什么會(huì)在十九世紀(jì)讓位于浪漫主義音樂?因此，本文的主旨就是從它們各自的風(fēng)格特點(diǎn)出發(fā)，在時(shí)代背景演繹的空間中去尋求促成兩者傳承的因素以及思考這種文化現(xiàn)象的意義。 通過查閱相關(guān)資料進(jìn)行分析歸納，全文從兩個(gè)方面來(lái)論證其必然性：一是古典主義時(shí)期為何要演變到浪漫主義時(shí)期；二是為什么由浪漫主義音樂來(lái)傳承古典主義音樂。在第一個(gè)方面的論證中，本文將以古典主義的精神實(shí)質(zhì)為主線來(lái)闡述古典主義的淵源，分析不同的音樂風(fēng)格在各個(gè)歷史時(shí)期的作用和特點(diǎn)，由此看到古典主義精神貫越了整個(gè)音樂歷史發(fā)展過程，只是在相應(yīng)的古典主義時(shí)期找到了最符合其豐滿、完善音樂結(jié)構(gòu)的歷史坐標(biāo)。而由于人類對(duì)精神糧食的索取向來(lái)從無(wú)止境，古典主義時(shí)期在達(dá)到藝術(shù)表現(xiàn)力的最大值時(shí)又亟待另一種風(fēng)格來(lái)填充人類的音樂欣賞需求，由此進(jìn)行第二個(gè)方面的論證：時(shí)代的進(jìn)步、思想的解放、個(gè)性的展現(xiàn)形成了浪漫風(fēng)暴來(lái)臨的天空，正是由于人類社會(huì)與思維的不斷進(jìn)步促使浪漫主義時(shí)期宣告其歷史主角地位。同樣，浪漫精神也不是從天而降，它也是流淌在持續(xù)的歷史文化中，只是在古典主義時(shí)期之后找到了最適合其生根發(fā)芽的土壤，從而彌漫整個(gè)歐洲音樂界。 本文作出以下結(jié)論：各種藝術(shù)風(fēng)格都有其服人之美，藝術(shù)風(fēng)格不是一成不變的，是隨著人類社會(huì)的發(fā)展而與時(shí)俱進(jìn)的，今后的發(fā)展也是必然的。我們要客觀、辨證地看待這些變化，取長(zhǎng)補(bǔ)短，古為今用，，洋為中用，讓音樂為人類提供最大限度的精神享受。
[Abstract]:Classicism period and Romantic period are two important periods in European music history. The spirit of "classicism" and "romanticism" got the most full expression at that time. Since classical music in the eighteenth century is of great artistic value, why did it give way to Romantic music in the nineteenth century? Therefore, the main purpose of this paper is to explore the factors that contribute to the inheritance of the two and the significance of thinking about this cultural phenomenon in the space of deduction in the background of the times, starting from their respective style characteristics. Through the analysis and induction of relevant materials, the thesis proves its inevitability from two aspects: first, why the classicism period evolves to the romanticism period; second, why the Romantic music inherits the classical music. In the first aspect of the argument, this paper will take the spirit essence of classicism as the main line to explain the origin of classicism, and analyze the function and characteristics of different musical styles in each historical period. From this, we can see that the spirit of classicism has gone through the whole development process of music history, but in the corresponding period of classicism, it has found the historical coordinate that is most suitable for its fullness and perfection of music structure. Since human demand for spiritual food has always been endless, in the period of classicism, when reaching the maximum of artistic expressiveness, another style was urgently needed to fill the music appreciation needs of human beings. Therefore, the second aspect of the argument: the progress of the times, the emancipation of thought, the display of personality formed the sky of the romantic storm, it is because of the continuous progress of human society and thinking that the Romantic period announced its historical protagonist position. Similarly, romantic spirit is not from the sky, it is also flowing in the continuous history and culture, but after the classicism found the most suitable soil for its roots, thus pervading the entire European music industry. This paper draws the following conclusions: all kinds of artistic styles have their own beauty, art style is not static, with the development of human society and with the development of the future is inevitable. We must objectively, dialectically view these changes, learn from each other, use the past for the present, and make use of the foreign, so that music can provide human beings with the greatest spiritual enjoyment.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類號(hào)】：J605

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 王文霞;西方浪漫主義音樂向現(xiàn)代音樂轉(zhuǎn)變的必然性及原因分析[D];湖南師范大學(xué);2010年

本文編號(hào)：2419799