【摘要】： 路德維�！し病へ惗喾�(Ludwig van Beethoven 1770-1827)是迄今為止最偉大的作曲家之一,其創(chuàng)作的32首鋼琴奏鳴曲不僅延續(xù)了前人的傳統(tǒng),端正的遵循著古典之風(fēng),而且也以其種種的獨(dú)創(chuàng)性和愈加豐富的情感內(nèi)容不斷顛覆著當(dāng)時(shí)人們的聽覺,也很大程度地影響著音樂的發(fā)展方向。他的晚期鋼琴奏鳴曲中,抒情風(fēng)格在一定程度上占據(jù)了原有的英雄主義風(fēng)格�，F(xiàn)實(shí)中的種種矛盾,比如他與侄子的關(guān)系、病情的日漸嚴(yán)重和生活的壓力等導(dǎo)致了他的精神和創(chuàng)作更渴望自由。更重要的是,這一時(shí)期由于他一生哲學(xué)思想的提煉,也使得晚期奏鳴曲中的樂思更加的深刻和復(fù)雜。 本文較多的采用“比較研究法”,把貝多芬置于德國(guó)古典主義的大環(huán)境下,從貝多芬的精神、哲學(xué)角度去分析貝多芬《E大調(diào)第三十首鋼琴奏鳴曲Op.109))的創(chuàng)作背景和結(jié)構(gòu)特征,啟發(fā)讀者對(duì)貝多芬晚期奏鳴曲更深的了解；并從同樣的角度,并結(jié)合現(xiàn)有資料,對(duì)貝多芬晚期鋼琴作品的學(xué)習(xí)和演奏提供較為科學(xué)的指導(dǎo)。 文章分為四個(gè)章節(jié),第一章以德國(guó)文化和哲學(xué)的角度從整體上把握貝多芬的哲學(xué)理念。貝多芬身處德國(guó)古典主義哲學(xué)最輝煌的時(shí)期,他本人的思想也深受如康德,席勒等哲學(xué)家的影響。因此了解貝多芬的哲學(xué)理念,對(duì)演奏者理解貝多芬創(chuàng)作中的精神含義具有切實(shí)的作用。第二章結(jié)合相關(guān)文字資料,分析了貝多芬創(chuàng)作《E大調(diào)第三十首鋼琴奏鳴曲Op.109》創(chuàng)作的歷史背景和個(gè)人背景；第三章分析了此曲三個(gè)樂章的結(jié)構(gòu)特征,亦能從這首奏鳴曲的結(jié)構(gòu)中,觀察到貝多芬晚年曲式結(jié)構(gòu)的特點(diǎn)與創(chuàng)新。第四章則從四個(gè)部分著手：藝術(shù)形象、節(jié)奏、聲音和技術(shù),對(duì)奏鳴曲Op.109的的演奏提供一定的指導(dǎo)。結(jié)論部分,從上述的四個(gè)章節(jié)的論述中進(jìn)一步總結(jié)歸納。全文力爭(zhēng)以大量的文學(xué)資料和科學(xué)論述,客觀、公正地對(duì)試圖學(xué)習(xí)貝多芬鋼琴奏鳴曲的讀者給予一定的幫助。
[Abstract]:Ludwig van Beethoven (Ludwig van Beethoven 1770-1827) is one of the greatest composers to date. His 32 piano sonatas not only follow the tradition of predecessors, but also follow the classical style. But also with its various originality and increasingly rich emotional content constantly subversive people's hearing at that time, but also greatly affected the direction of music development. In his late piano sonata, lyric style occupied the original heroism style to some extent. Various contradictions in reality, such as his relationship with his nephew, the increasing severity of his illness and the stress of life, have led to his spiritual and creative desire for freedom. More importantly, due to the refinement of his philosophy in his whole life, this period also makes the music in the late sonatas more profound and complicated. In this paper, the "comparative research method" is used to put Beethoven in the great environment of German classicism, and from the spirit of Beethoven, Philosophical analysis of Beethoven (30 Piano Sonata in E major Op.109) the creation of background and structural characteristics, to inspire readers to understand the late Beethoven sonata more deeply; From the same point of view and combined with the existing data, it provides more scientific guidance for the study and performance of Beethoven's late piano works. This paper is divided into four chapters. The first chapter holds Beethoven's philosophy from the perspective of German culture and philosophy. Beethoven was in the most splendid period of German classical philosophy, and his thoughts were influenced by philosophers such as Kant and Schiller. Therefore, the understanding of Beethoven's philosophy plays an important role in understanding the spiritual meaning of Beethoven's creation. The second chapter analyzes the historical background and personal background of Beethoven's creation of Piano Sonata No. 30 (Op.109) in E major. The third chapter analyzes the structural characteristics of the three movements of this song, and from the structure of the sonata, we can observe the characteristics and innovations of Beethoven's musical form in his late years. The fourth chapter starts with four parts: artistic image, rhythm, sound and technology, which provides some guidance for the performance of Sonata Op.109. Conclusion, from the above four chapters of the discussion of further summary. The full text tries to give some help to readers who try to learn Beethoven piano sonatas objectively and impartially with a great deal of literature and scientific argumentation.
【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J624.1

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本文編號(hào)：2308283