本文關(guān)鍵詞：普羅科菲耶夫后期三首鋼琴奏鳴曲研究　出處：《西南大學》2009年碩士論文　論文類型：學位論文

  更多相關(guān)文章： 旋律研究 和聲研究 調(diào)式、調(diào)性研究 曲式結(jié)構(gòu)研究

【摘要】： 謝爾蓋·謝爾蓋耶維奇·普羅科菲耶夫(Seregy Sergeyevich Prokofiev,1891—1953)前蘇聯(lián)鋼琴家與指揮家,是20世紀享譽世界的近現(xiàn)代杰出作曲家,他的創(chuàng)作遍及音樂藝術(shù)的各種體裁形式,一生為人類貢獻了一百三十多部音樂精品。作為一名自成體系的革新者,他的創(chuàng)作成就并不亞于同時代的其他人物。尤其在20世紀的鋼琴音樂領(lǐng)域,貫穿他藝術(shù)人生三個階段的鋼琴奏鳴曲起到舉足輕重的作用,無論是在構(gòu)思的宏偉、內(nèi)容的深刻還是技巧的精湛、手法的新穎等方面都堪稱鋼琴藝術(shù)中的精品。通過研究普羅科菲耶夫的鋼琴奏鳴曲了解他不同于他人的創(chuàng)作觀念、作曲技法和美學追求是具有相當?shù)湫偷囊饬x。 本文即是以普羅科菲耶夫后期的第六、第七和第八首鋼琴奏鳴曲(被世人統(tǒng)稱為“戰(zhàn)爭奏鳴曲”)為研究對象,以音樂本體為切入口,以作曲技術(shù)理論分析為核心,以傳統(tǒng)技法表現(xiàn)現(xiàn)代風格的獨特性為視角,對作品進行較為全面細致的分析研究。文章共分為五個部分:第一章導論;第二章旋律分析;第三章和聲研究;第四章調(diào)式、調(diào)性研究;第五章曲式結(jié)構(gòu)研究。筆者試圖通過對以上音樂本體個構(gòu)成要素的分析與研究,梳理出作品各構(gòu)成要素的特點及特色,并以此為基礎(chǔ)透視普羅科菲耶夫在三部作品中所體現(xiàn)出的繼承與革新的辨證統(tǒng)一的創(chuàng)作特征。
[Abstract]:Sergei Sergeyevich Prokofiev, Seregy Sergeyevich Prokofievan 1891-195) former Soviet pianist and conductor. In 20th century, he was one of the most famous modern and modern composers in the world. His works spread all over the genre of music art, and he contributed more than 130 music works to mankind in his life. He was a innovator of his own system. His creation achievement is not inferior to other characters of his time, especially in the field of piano music in 20th century, piano sonata, which runs through three stages of his art life, plays an important role. No matter in the grand idea, the content is profound or the skill is exquisite. Through the study of Prokofyev's piano sonatas, we can see that he is different from others in his creative ideas. Composition techniques and aesthetic pursuit are of typical significance. This article takes the 6th, 7th and 8th piano sonatas of Prokofyev's later period (commonly referred to as "War Sonata") as the research object, and takes the music ontology as the entrance. With the theoretical analysis of composition technology as the core and the uniqueness of the modern style of traditional techniques as the angle of view, this paper makes a more comprehensive and detailed analysis and study of the works. The article is divided into five parts: the first chapter is an introduction; Chapter two: melody analysis; Chapter three: research on Harmony; Chapter 4th: the study of tonality; The author tries to carve out the characteristics and characteristics of the composition elements of the works through the analysis and research of the above music Noumenon elements. On the basis of this, we can see through the dialectical unity of inheritance and innovation embodied in Prokofyev's three works.
【學位授予單位】：西南大學
【學位級別】：碩士
【學位授予年份】：2009
【分類號】：J624.1

【引證文獻】

相關(guān)期刊論文 前1條

1 宋彥斌;;淺析普羅科菲耶夫鋼琴音樂的風格特征[J];黃河之聲;2011年20期

相關(guān)碩士學位論文 前1條

1 李菲菲;普羅科菲耶夫鋼琴奏鳴曲式結(jié)構(gòu)研究[D];四川師范大學;2012年

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本文編號：1421873