希曼諾夫斯基十二首鋼琴練習(xí)曲研究
發(fā)布時(shí)間：2019-06-22 13:21
【摘要】： 繼肖邦之后，波蘭又誕生了一位令世人矚目的音樂(lè)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(xiàn)打破了長(zhǎng)期以來(lái)波蘭音樂(lè)界落后、封閉的局面，為波蘭音樂(lè)的發(fā)展注入了新鮮的血液。他對(duì)波蘭音樂(lè)所做出的貢獻(xiàn)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(méi)有引起足夠的重視，更沒(méi)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(shí)創(chuàng)作的鋼琴《十二首練習(xí)曲》 ，代表了其成熟的音樂(lè)風(fēng)格。鋼琴“練習(xí)曲”本來(lái)是以技術(shù)訓(xùn)練為目的的體裁，從肖邦時(shí)代發(fā)展成了“音樂(lè)會(huì)練習(xí)曲”，即將輝煌的演奏技術(shù)與高品位的藝術(shù)性結(jié)合為一體，更具美學(xué)價(jià)值。希曼諾夫斯基繼承了先輩遺留下來(lái)的傳統(tǒng)，他的練習(xí)曲集短小精湛的形式、復(fù)雜高超的演奏技術(shù)、全新的音樂(lè)語(yǔ)匯、豐富的情感表現(xiàn)于一身，具有很高的練習(xí)與欣賞價(jià)值。 本論文主體分為兩大部分：一、希曼諾夫斯基的音樂(lè)創(chuàng)作道路 二、希曼諾夫斯基鋼琴十二首練習(xí)曲研究。第一部分包括兩個(gè)方面，一方面敘述了希曼諾夫斯基的三個(gè)音樂(lè)創(chuàng)作階段：早期創(chuàng)作生涯、創(chuàng)作生涯的第一次轉(zhuǎn)折、創(chuàng)作生涯的第二次轉(zhuǎn)折。三個(gè)時(shí)期分別代表了希曼諾夫斯基音樂(lè)創(chuàng)作中的三種音樂(lè)風(fēng)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(lè)創(chuàng)作的諸多因素，包括歷史環(huán)境因素、文學(xué)詩(shī)歌因素、性格因素以及某些對(duì)其創(chuàng)作(尤其是練習(xí)曲)產(chǎn)生影響的音樂(lè)家——肖邦、斯克里亞賓、德彪西、斯特拉文斯基等。第二部分對(duì)希曼諾夫斯基的鋼琴《十二首練習(xí)曲》進(jìn)行了詳細(xì)全面地分析。其中對(duì)《十二首練習(xí)曲》的創(chuàng)作背景、總體特征作了簡(jiǎn)要地介紹，并從曲式、織體、調(diào)式、調(diào)性、和聲、旋律、節(jié)奏、演奏和美學(xué)分析九個(gè)方面對(duì)本套練習(xí)曲進(jìn)行了較為細(xì)致地分析，力求全面把握希氏的創(chuàng)作特征與音樂(lè)風(fēng)格。另外，，為了充分展現(xiàn)這部作品深層次的音樂(lè)內(nèi)涵、揭示它的美學(xué)價(jià)值，本文針對(duì)每一首練習(xí)曲的音樂(lè)內(nèi)容、美學(xué)特征作了較深入細(xì)致的描述，力圖透過(guò)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(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類號(hào)】：J657
本文編號(hào)：2504619
[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(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類號(hào)】：J657
【引證文獻(xiàn)】
相關(guān)碩士學(xué)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(jié)構(gòu)研究[D];西南大學(xué);2011年
本文編號(hào)：2504619
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