本文選題：肖邦 + 諧謔曲�。� 參考：《上海音樂(lè)學(xué)院》2006年碩士論文

【摘要】：肖邦對(duì)音樂(lè)體裁的貢獻(xiàn)是獨(dú)一無(wú)二的，他所創(chuàng)作的四首獨(dú)立的諧謔曲是對(duì)諧謔曲體裁的發(fā)展和革新，它們已很少詼諧性格留下，而都是大型的戲劇性作品，，可以說(shuō)，諧謔曲在肖邦的手上達(dá)到了頂峰。同時(shí)諧謔曲是肖邦音樂(lè)創(chuàng)作中非常重要也非常特殊的一個(gè)側(cè)面，通過(guò)考察諧謔曲的風(fēng)格特征可以更為完整地理解肖邦音樂(lè)語(yǔ)言的總體風(fēng)格特征。 在第一章緒論中，首先介紹了諧謔曲的歷史發(fā)展脈絡(luò)，考察了諧謔曲的風(fēng)格演變過(guò)程。然后從肖邦諧謔曲入手，介紹了肖邦諧謔曲的歷史背景與總體風(fēng)格特征。 在第二章音樂(lè)要素分析中，首先從旋律入手，一方面分析了肖邦諧謔曲旋律的總體特征，另一方面分析了肖邦諧謔曲旋律的發(fā)展手法。然后從和聲入手，分析了肖邦諧謔曲中和聲進(jìn)行的幾種主要特點(diǎn)。通過(guò)這兩個(gè)音樂(lè)要素的分析，來(lái)進(jìn)一步了解肖邦諧謔曲旋律與和聲的總體風(fēng)格特征。 在第三章結(jié)構(gòu)分析中，首先從“三部性”與“非三部性”入手，具體分析了四首諧謔曲的曲式結(jié)構(gòu)，然后分析了四首諧謔曲從主部到尾聲的各個(gè)段落的具體功能，最后分析了諧謔曲的總體結(jié)構(gòu)布局。通過(guò)這樣的分析，對(duì)肖邦諧謔曲段落安排的豐富性和結(jié)構(gòu)的多解性有一個(gè)較為深入的了解。 在第四章中，運(yùn)用了美國(guó)著名音樂(lè)美學(xué)家、理論家倫納德·邁爾所創(chuàng)立的音樂(lè)感知分析的理論，從音樂(lè)感知角度入手，對(duì)肖邦創(chuàng)作的第三首諧謔曲進(jìn)行了較為細(xì)致的音樂(lè)分析。通過(guò)這樣的分析，驗(yàn)證了以上音樂(lè)形式分析得出的結(jié)論，進(jìn)一步從感性和理性上對(duì)肖邦諧謔曲的風(fēng)格特征有了一個(gè)更為深入的理解和認(rèn)識(shí)。 總之，肖邦諧謔曲在前人的基礎(chǔ)上，創(chuàng)立了自己獨(dú)特的諧謔曲音樂(lè)語(yǔ)言風(fēng)格特征，為諧謔曲體裁的發(fā)展作出了重要貢獻(xiàn)。
[Abstract]:Chopin's contribution to musical genres is unique. His four independent banqueos are the development and innovation of the genre. They have rarely been left behind by witty characters, but they are all large-scale dramatic works, so to speak. Scherzo reached its peak in Chopin's hands. At the same time, Scherzo is a very important and special aspect in Chopin's music creation. In the first chapter, the author introduces the historical development of Scherzo and examines the evolution of Scherzo style. Then from Chopin Scherzo, introduced the historical background and overall style of Chopin Scherzo. In the second chapter, we analyze the overall characteristics of Chopin's Scherzo melody and the development of Chopin's Scherzo melody. Then it analyzes the main characteristics of harmony in Chopin's Scherzo. Through the analysis of these two musical elements, we can further understand the overall style characteristics of Chopin's melodies and harmonies. In the third chapter, the author starts with "three parts" and "non-trilateralism", then analyzes the structure of four Scherzo forms, and then analyzes the specific functions of each paragraph of the four Scherzo from the main part to the end. Finally, the overall structure of Scherzo is analyzed. Through this analysis, we have a deeper understanding of the richness of Chopin's Scherzo paragraph arrangement and the diversity of its structure. In the fourth chapter, using the theory of music perception analysis founded by Leonard Mayer, a famous American music aesthetician, the third Scherzo by Chopin is analyzed in detail from the perspective of music perception. Through this analysis, the conclusion of the above music form analysis is verified, and a deeper understanding and understanding of the style characteristics of Chopin's Scherzo is obtained from the perspective of sensibility and rationality. In a word, Chopin Scherzo created its own unique style of musical style on the basis of predecessors, and made an important contribution to the development of Scherzo genre.
【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
【分類號(hào)】：J614

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 賈晶;論肖邦對(duì)古典主義時(shí)期鋼琴諧謔曲體裁的拓展與革新[D];東北師范大學(xué);2011年

本文編號(hào)：1789116