【摘要】： 繼肖邦之后，波蘭又誕生了一位令世人矚目的音樂家，他的名字叫卡羅爾·希曼諾夫斯基(1882——1937)。希曼諾夫斯基的出現打破了長期以來波蘭音樂界落后、封閉的局面，為波蘭音樂的發(fā)展注入了新鮮的血液。他對波蘭音樂所做出的貢獻絲毫不遜于肖邦，但是由于處在特定的歷史環(huán)境下，希曼諾夫斯基的作品并沒有引起足夠的重視，更沒有得到廣泛的傳播。本文將要研究的作品是希曼諾夫斯基34歲時創(chuàng)作的鋼琴《十二首練習曲》 ，代表了其成熟的音樂風格。鋼琴“練習曲”本來是以技術訓練為目的的體裁，從肖邦時代發(fā)展成了“音樂會練習曲”，即將輝煌的演奏技術與高品位的藝術性結合為一體，更具美學價值。希曼諾夫斯基繼承了先輩遺留下來的傳統(tǒng)，他的練習曲集短小精湛的形式、復雜高超的演奏技術、全新的音樂語匯、豐富的情感表現于一身，具有很高的練習與欣賞價值。 本論文主體分為兩大部分：一、希曼諾夫斯基的音樂創(chuàng)作道路 二、希曼諾夫斯基鋼琴十二首練習曲研究。第一部分包括兩個方面，一方面敘述了希曼諾夫斯基的三個音樂創(chuàng)作階段：早期創(chuàng)作生涯、創(chuàng)作生涯的第一次轉折、創(chuàng)作生涯的第二次轉折。三個時期分別代表了希曼諾夫斯基音樂創(chuàng)作中的三種音樂風格傾向——后浪漫主義、印象主義、民族主義。另一方面論述了影響其音樂創(chuàng)作的諸多因素，包括歷史環(huán)境因素、文學詩歌因素、性格因素以及某些對其創(chuàng)作(尤其是練習曲)產生影響的音樂家——肖邦、斯克里亞賓、德彪西、斯特拉文斯基等。第二部分對希曼諾夫斯基的鋼琴《十二首練習曲》進行了詳細全面地分析。其中對《十二首練習曲》的創(chuàng)作背景、總體特征作了簡要地介紹，并從曲式、織體、調式、調性、和聲、旋律、節(jié)奏、演奏和美學分析九個方面對本套練習曲進行了較為細致地分析，力求全面把握希氏的創(chuàng)作特征與音樂風格。另外，，為了充分展現這部作品深層次的音樂內涵、揭示它的美學價值，本文針對每一首練習曲的音樂內容、美學特征作了較深入細致的描述，力圖透過這部作品能夠窺探到希曼諾夫斯基的心靈世界，感受在他的靈魂深處隱藏的豐富情感：痛苦、愉悅、多情、憤怒、熱情……
[Abstract]:After Chopin, Poland gave birth to a remarkable musician named Carol Simanovsky (1882 / 1937). The emergence of Simanovsky broke the backward and closed situation of Polish music for a long time, and injected fresh blood into the development of Polish music. His contribution to Polish music is no less than Chopin, but because of the specific historical environment, Simanovsky's works have not attracted enough attention, let alone been widely disseminated. The work to be studied in this paper is the piano "twelve etudes" created by Simanovsky at the age of 34, which represents his mature music style. Piano etude, originally for the purpose of technical training, developed from Chopin era to concert etude, that is, the combination of brilliant playing technology and high-grade artistry, which has more aesthetic value. Simanovsky inherits the tradition left behind by his ancestors. His practice collection is short and exquisite in form, complex and superb playing technology, new musical vocabulary, rich emotion in one body, and has high practice and appreciation value. The main body of this paper is divided into two parts: first, Simanovsky's music creation road 2, Simanovsky piano twelve etudes. The first part includes two aspects, on the one hand, it describes the three stages of Simanovsky's music creation: the early creative career, the first turning point of the creative career, and the second turning point of the creative career. The three periods represent three kinds of music style tendencies in Simanovsky's music creation-post-romanticism, impressionism and nationalism. On the other hand, it discusses many factors that affect his music creation, including historical environment factors, literary poetry factors, personality factors and some musicians who have influence on his creation (especially etude), such as Chopin, Scriyabin, Debussy, Stravinsky and so on. In the second part, the twelve etudes of Simanovsky's piano are analyzed in detail and comprehensively. Among them, the creative background and overall characteristics of the twelve etudes are briefly introduced, and the etude is analyzed in detail from nine aspects: music form, texture, tune, tonality, harmony, melody, rhythm, performance and aesthetic analysis, in order to grasp his creative characteristics and music style in an all-round way. In addition, in order to fully show the deep musical connotation of this work and reveal its aesthetic value, this paper makes a more in-depth and detailed description of the music content and aesthetic characteristics of each etude, trying to peek into Simanovsky's spiritual world through this work, and feel the rich emotions hidden in the depths of his soul: pain, pleasure, affectionate, anger and enthusiasm.
【學位授予單位】：山東師范大學
【學位級別】：碩士
【學位授予年份】：2003
【分類號】：J657

【引證文獻】

相關碩士學位論文 前1條

1 顏婷婷;希曼諾夫斯基《第三鋼琴奏鳴曲》節(jié)奏結構研究[D];西南大學;2011年

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