本文關(guān)鍵詞： 手稿 “浮士德說(shuō)” 宗教性 引子材料 演奏版本　出處：《上海音樂(lè)學(xué)院》2006年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：李斯特的B小調(diào)奏鳴曲，在十九世紀(jì)鋼琴文獻(xiàn)中占有里程碑式的特殊地位。這部傳世巨作，不僅開(kāi)創(chuàng)了單樂(lè)章奏鳴曲式的先河，其無(wú)處不在的主題變形技法和雙重奏鳴曲式功能，龐大而復(fù)雜的結(jié)構(gòu)，殷實(shí)的內(nèi)容和色彩斑斕的和聲語(yǔ)匯，都為我們的解讀與演繹提供了廣博的空間。 有關(guān)李斯特B小調(diào)奏鳴曲的研究廣見(jiàn)于學(xué)術(shù)界。筆者經(jīng)過(guò)對(duì)作品手稿文本的仔細(xì)觀察分析，結(jié)合列舉針對(duì)作品的各家之言中幾個(gè)最典型的觀點(diǎn)論斷，提出了有關(guān)作品在文本解讀和實(shí)踐演繹中的三大問(wèn)題： 1，作品內(nèi)容究竟作何種解釋? 2，作品結(jié)構(gòu)究竟該如何劃分——四部或三部? 3，演繹者對(duì)待音樂(lè)文本究竟應(yīng)采取怎樣的態(tài)度? 本文圍繞此三個(gè)問(wèn)題，分五個(gè)章節(jié)展開(kāi)闡述：第一章闡述B小調(diào)奏鳴曲產(chǎn)生的淵源的問(wèn)題；第二章闡述B小調(diào)奏鳴曲手稿所反映的問(wèn)題；第三章闡述有關(guān)作品內(nèi)容理解的問(wèn)題；第四章闡述有關(guān)作品的段落劃分與結(jié)構(gòu)布局的問(wèn)題；第五章則闡述演繹者在對(duì)該作品作演繹時(shí)所抱持的態(tài)度。 通過(guò)以上闡述，筆者認(rèn)為，李斯特B小調(diào)奏鳴曲的產(chǎn)生受前輩德奧作曲家“創(chuàng)作體裁混用”的影響，作品以單樂(lè)章奏鳴曲式寫(xiě)成，同時(shí)具備多樂(lè)章奏鳴套曲的特征，曲式上呈現(xiàn)為“雙重功能”；作品在結(jié)構(gòu)上分為三大部分，以行板插部為中心，行板插部前后相對(duì)應(yīng)，整體上呈現(xiàn)均衡、對(duì)稱的形態(tài)，作品內(nèi)部則具有環(huán)環(huán)相套的特征；作品的基本內(nèi)容，是作曲家借用歌德的長(zhǎng)詩(shī)《浮士德》中的三個(gè)藝術(shù)形象，反映自身內(nèi)心活動(dòng)，表達(dá)了作曲家對(duì)人生、人性的懷疑、悲嘆、反省的態(tài)度；基于作品本身的基調(diào)和性質(zhì)，筆者認(rèn)為作品的演繹態(tài)度，應(yīng)當(dāng)更多的從音樂(lè)本質(zhì)出發(fā)，，從內(nèi)省、反思的角度入手，以達(dá)到作品本身所呈現(xiàn)的平衡、對(duì)稱、完滿的藝術(shù)形態(tài)，避免浪漫主義作品演繹中過(guò)度情緒化的表現(xiàn)傾向。
[Abstract]:Liszt's Sonata in B minor occupies a special landmark position in the piano literature in 19th century. This masterpiece has not only created a mono-movement sonata, Its omnipresent theme transformation technique and double sonata function, the huge and complex structure, the rich content and the colorful harmony vocabulary, all provide the extensive space for our interpretation and deduction. The study of Liszt Sonata in B minor has been widely seen in academic circles. After careful observation and analysis of the manuscripts of the works, the author, in combination with some of the most typical viewpoints enumerated in the works, This paper puts forward three major problems in the interpretation and practice of the works:. 1. What is the interpretation of the content of the work? 2. How should the structure of the work be divided into four or three parts? 3. What attitude should the deductor take towards the music text? This paper is divided into five chapters: the first chapter expounds the origin of Sonata in B minor, the second chapter expounds the problems reflected in the manuscript of Sonata in B minor, the third chapter expounds the problems of understanding the contents of the works. Chapter 4th deals with the division of paragraphs and the structural layout of the work, while Chapter 5th describes the attitude of the deductor in the interpretation of the work. The author thinks that the production of Liszt Sonata in B minor is influenced by the "mixed use of creative genres" by the German composer, whose works are written in the form of single movement sonata, and have the characteristics of multi-movement sonata. The structure of the work is divided into three parts, which are centered on the board insertion, corresponding to the front and back, balanced and symmetrical as a whole, and the interior of the work has the characteristics of ring and ring. The basic content of the works is that the composer borrows the three artistic images of Goethe's long poem Faust to reflect his inner activities and expresses the composer's attitude of doubt, lamentation and introspection about life and human nature. Based on the tone and nature of the work itself, the author thinks that the deductive attitude of the work should start from the essence of music, introspection and introspection, in order to achieve the balance, symmetry and perfect artistic form of the work itself. Avoid excessive emotional tendency in the interpretation of romantic works.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類(lèi)號(hào)】：J624.1

【引證文獻(xiàn)】

相關(guān)期刊論文 前4條

1 景鵬;;李斯特b小調(diào)鋼琴奏鳴曲之研究[J];大眾文藝;2009年23期

2 陸平;;李斯特《b小調(diào)鋼琴奏鳴曲》演奏整體感之初探[J];鋼琴藝術(shù);2012年12期

3 陳國(guó)慶;;鋼琴教學(xué)中的版本辨析與選擇[J];黑龍江高教研究;2008年08期

4 于紅;;李斯特《b小調(diào)鋼琴奏鳴曲》演奏的教學(xué)研究[J];樂(lè)器;2011年07期

相關(guān)碩士學(xué)位論文 前3條

1 于紅;李斯特《b小調(diào)鋼琴奏鳴曲》研究[D];山東師范大學(xué);2008年

2 朱志華;一部用音符寫(xiě)成的“自傳”[D];武漢音樂(lè)學(xué)院;2010年

3 李曉囡;音樂(lè)作品構(gòu)建的層次性研究[D];上海音樂(lè)學(xué)院;2010年

本文編號(hào)：1530787