三首浪漫時期鋼琴敘事曲的比較分析
發(fā)布時間：2019-04-02 02:51
【摘要】： 隨著19世紀(jì)初文學(xué)浪漫主義的形成，從19世紀(jì)20年代開始貫穿整個19世紀(jì)直到20世紀(jì)初的歷史時期中，音樂浪漫主義掀起了高潮。隨之鋼琴音樂進入了它的鼎盛時期，大量強調(diào)個人的抒情性，偏重幻想和夸張的浪漫鋼琴作品成為后世鋼琴文獻的重要組成部分。無論是鋼琴本身性能的完備，還是鋼琴音樂的創(chuàng)作，演奏技術(shù)等方面都得到了空前的發(fā)展。 論文之所以選擇了肖邦、勃拉姆斯和格里格三位浪漫時期作曲家的敘事曲進行對比分析，是因為他們的這一體裁的作品具有特定的代表性，在一定程度上代表了鋼琴敘事曲的典型風(fēng)格：肖邦開創(chuàng)了鋼琴敘事曲的先河，他的四首敘事曲堪稱為此體裁的典范，深刻的影響了此后作曲家對同一體裁的創(chuàng)作；勃拉姆斯是第一位以民俗敘事詩為標(biāo)題來創(chuàng)作敘事曲的作曲家，他的鋼琴敘事曲作品10是四首小品構(gòu)成的套曲形式；格里格鋼琴敘事曲作品24是采用挪威民謠為主題，以變奏曲式的形式展開的作品，帶有濃郁的北歐風(fēng)情。 本論文以三首浪漫時期的鋼琴敘事曲作為研究對象，通過對典型風(fēng)格作品的對比分析，發(fā)現(xiàn)之間的異同，主要想突出揭示作曲家如何用音樂語言來表現(xiàn)與文學(xué)有關(guān)的內(nèi)容。結(jié)論力圖從以上分析中概括出三首鋼琴敘事曲的共性特征，并從宏觀的角度對比出它們的不同，，最終引申出對后世音樂發(fā)展的影響和意義。 本文的突破點是運用比較的方法揭示了鋼琴敘事曲體裁的某些內(nèi)涵，巧妙之處是從個性的對比發(fā)現(xiàn)共性的特征，并在共性的基礎(chǔ)上概括的得出個性的不同之處。
[Abstract]:With the formation of literary romanticism in the early 19th century, musical romanticism began to rise in the historical period from 1920s through the whole 19th century to the beginning of the 20th century. With the piano music entering its heyday, a great deal of emphasis on individual lyricism, the emphasis on fantasy and exaggeration of romantic piano works have become an important part of the piano literature of later generations. No matter the complete performance of the piano itself, or the creation of piano music, performance technology and other aspects have been unprecedented development. The reason why the thesis chooses Chopin, Brahms and Grieg to make a comparative analysis of the narrative songs of the three romantic period composers is that their works of this genre have specific representativeness. To a certain extent, it represents the typical style of piano narratology: Chopin pioneered the piano narrative music, and his four narrative songs could be regarded as a model of this genre, which profoundly influenced the composer's creation of the same genre; Brahms is the first composer to write narrative songs with the title of folk-custom narrative poems. His piano narrative works 10 is a series of four sketches. Grieger Piano narrative works 24 is carried out with Norwegian ballads as the theme, in the form of variations, with a rich Nordic style. This thesis takes three piano narratives of romantic period as the research object, through the comparative analysis of the typical style works, finds the similarities and differences, mainly wants to highlight the composer how to use the music language to express the literature-related content, the main purpose is to reveal how the composer uses the music language to express the literature-related content. The conclusion attempts to generalize the common characteristics of the three piano narrative songs from the above analysis, and compares their differences from the macro point of view, and finally extends the influence and significance to the development of later music. The breakthrough point of this paper is to reveal some connotations of piano narrative genre by means of comparative method. The ingenious point is to discover the common characteristics from the comparison of personality, and to generalize the differences of personality on the basis of generality.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2004
【分類號】：J605
本文編號：2452164
[Abstract]:With the formation of literary romanticism in the early 19th century, musical romanticism began to rise in the historical period from 1920s through the whole 19th century to the beginning of the 20th century. With the piano music entering its heyday, a great deal of emphasis on individual lyricism, the emphasis on fantasy and exaggeration of romantic piano works have become an important part of the piano literature of later generations. No matter the complete performance of the piano itself, or the creation of piano music, performance technology and other aspects have been unprecedented development. The reason why the thesis chooses Chopin, Brahms and Grieg to make a comparative analysis of the narrative songs of the three romantic period composers is that their works of this genre have specific representativeness. To a certain extent, it represents the typical style of piano narratology: Chopin pioneered the piano narrative music, and his four narrative songs could be regarded as a model of this genre, which profoundly influenced the composer's creation of the same genre; Brahms is the first composer to write narrative songs with the title of folk-custom narrative poems. His piano narrative works 10 is a series of four sketches. Grieger Piano narrative works 24 is carried out with Norwegian ballads as the theme, in the form of variations, with a rich Nordic style. This thesis takes three piano narratives of romantic period as the research object, through the comparative analysis of the typical style works, finds the similarities and differences, mainly wants to highlight the composer how to use the music language to express the literature-related content, the main purpose is to reveal how the composer uses the music language to express the literature-related content. The conclusion attempts to generalize the common characteristics of the three piano narrative songs from the above analysis, and compares their differences from the macro point of view, and finally extends the influence and significance to the development of later music. The breakthrough point of this paper is to reveal some connotations of piano narrative genre by means of comparative method. The ingenious point is to discover the common characteristics from the comparison of personality, and to generalize the differences of personality on the basis of generality.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2004
【分類號】：J605
【引證文獻】
相關(guān)期刊論文 前2條
1 張叢叢;;勃拉姆斯《d小調(diào)敘事曲》的創(chuàng)作手法與演奏分析[J];北方文學(xué)(下半月);2011年11期
2 林劍;;勃拉姆斯交響曲的發(fā)展特點探析[J];名作欣賞;2012年15期
本文編號：2452164
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