本文關(guān)鍵詞： 舒曼 浪漫主義 和弦結(jié)構(gòu) 織體研究　出處：《山東師范大學(xué)》2006年碩士論文　論文類型：學(xué)位論文

【摘要】： 舒曼是十九世紀(jì)上半葉德國重要的浪漫主義音樂家,在舒曼身上,我們看到了浪漫派精神的化身,他的浪漫氣質(zhì)大部分是從文學(xué)引申和培育出來的。對(duì)于我們而言,在今天,最珍貴的還是他留下的大量的音樂作品。其中最為著名的還是他的藝術(shù)歌曲的創(chuàng)作,在舒曼的藝術(shù)歌曲中,鋼琴和旋律處于平等地位,甚至有時(shí)鋼琴部分顯得是更重要。也許是受了巴赫的的影響,舒曼在藝術(shù)歌曲鋼琴織體的使用上是別具特色的。在他的藝術(shù)歌曲中,對(duì)浪漫主義詩歌的敏捷而直接的洞察力表現(xiàn)在他的歌曲形式豐富多變、表情親切;鋼琴織體和獨(dú)立的鋼琴作品集中表現(xiàn)了許多日后成為浪漫主義時(shí)代鋼琴風(fēng)格的特征。 在以往對(duì)舒曼藝術(shù)歌曲作品的研究中,研究者大多從聲樂的角度展開研究,較少的以織體寫作為切入點(diǎn),因此為了深入的探究舒曼鋼琴伴奏織體的寫作和應(yīng)用,以及與舒曼獨(dú)立鋼琴作品的聯(lián)系,本課題將重點(diǎn)以舒曼的聲樂套曲《婦女的愛情與生活》為研究對(duì)象,試圖以對(duì)這一聲樂套曲的鋼琴伴奏織體的分析與研究,為更深層次的闡釋舒曼藝術(shù)歌曲做新的嘗試。 本論文從浪漫主義產(chǎn)生的歷史文化背景入手,從十九世紀(jì)以來在歐洲重要的歷史轉(zhuǎn)折時(shí)期,各國的資產(chǎn)階級(jí)民主運(yùn)動(dòng)不同的革命形式以及拿破侖的失敗使封建勢(shì)力得以全面復(fù)辟引入,闡述了19世紀(jì)初期在文學(xué)藝術(shù)領(lǐng)域內(nèi)產(chǎn)生浪漫主義思潮的社會(huì)原因。在這一時(shí)期許多音樂家、作曲家們譜寫了為革命服務(wù)的歌曲、合唱曲和進(jìn)行曲等不同形式的音樂作品。接著筆者介紹了德國浪漫主義運(yùn)動(dòng)。19世紀(jì)初浪漫思潮首先在德國興起,繼而在英、法出現(xiàn)了浪漫主義文學(xué)運(yùn)動(dòng)。浪漫主義從文學(xué)轉(zhuǎn)到音樂方面來形成于19世紀(jì)20年代,以韋伯的歌劇和舒伯特的藝術(shù)歌曲為最初標(biāo)志。 舒曼的歌曲創(chuàng)作在他結(jié)婚的1840年達(dá)到頂峰,僅此一年中,他譜寫了大約140首歌曲。他的代表作《婦女的愛情與生活》和《詩人之戀》等都是在這一年所作,因此1840年被稱為舒曼的歌曲之年。在這些歌曲中,他以纖巧的筆觸描述了對(duì)克拉拉的愛情。 第三章是本論文的核心內(nèi)容,在第三章里,著重從以下幾個(gè)方面展開論述: 一、民族音樂風(fēng)格的確定。
[Abstract]:In 19th century, Schumann was an important Romantic musician in Germany. In Schumann, we saw the embodiment of Romantic spirit. His romantic temperament was largely derived from literature and nurtured. The most precious thing was the amount of music he had left behind. The most famous of them was the creation of his artistic songs, in which piano and melody were equal in Schumann's art songs. Sometimes the piano part is even more important. Perhaps influenced by Bach, Schumann is unique in the use of the piano texture of art songs. In his art songs, The quick and direct insight into Romantic poetry is manifested in his rich and varied forms of songs, his genial expression, and his piano texture and independent piano works, which show many of the characteristics of piano style in the romantic era. In the past researches on Schumann's works of art songs, most of the researchers carried out the research from the angle of vocal music, and seldom took texture writing as the breakthrough point. Therefore, in order to explore the writing and application of Schumann's piano accompaniment texture, As well as the relationship with Schumann's independent piano works, this paper will focus on the study of Schumann's vocal suite "Women's Love and Life", and try to analyze and study the piano accompaniment fabric of this vocal music suite. For a deeper interpretation of Schumann art songs to make a new attempt. This paper starts with the historical and cultural background of Romanticism, and from 19th century on the important historical turning point in Europe. The different revolutionary forms of bourgeois democratic movements in various countries and the defeat of Napoleon made it possible for the feudal forces to be fully reintroduced. This paper expounds the social causes of romanticism in the field of literature and art in the beginning of 19th century. During this period, many musicians and composers wrote songs for the service of revolution. Then the author introduces the Romantic Movement of Germany in the early 19th century, the romantic trend first rose in Germany, then in England, In 1820s, Romanticism changed from literature to music, marked by Weber's operas and Schubert's art songs. Schumann's songwriting peaked in 1840, when he married. In that year alone, he wrote about 140 songs. His masterpieces, Love and Life of Women and Love of Poets, were written that year. In 1840, therefore, he was called the year of Schumann's songs, in which he described his love for Clara in a delicate style. The third chapter is the core content of this paper, in the third chapter, it focuses on the following aspects:. First, the determination of folk music style.
【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】：2006
【分類號(hào)】：J614.1

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前3條

1 單良;從舒曼聲樂套曲《艾辛多夫歌曲集》探究舒曼藝術(shù)歌曲的創(chuàng)作特點(diǎn)[D];沈陽師范大學(xué);2011年

2 蔣福容;舒曼聲樂套曲《婦女的愛情與生活》研究[D];四川師范大學(xué);2011年

3 樸蕊;論舒曼聲樂套曲的戲劇性演唱特點(diǎn)[D];東北師范大學(xué);2010年

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本文編號(hào)：1496029