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  本文選題：貝多芬 + 《c小調(diào)第三鋼琴協(xié)奏曲》　； 參考：《山東師范大學(xué)》2006年碩士論文

【摘要】：貝多芬是德國(guó)偉大的作曲家,鋼琴家,同時(shí)也是維也納古典樂(lè)派的杰出代表。他的音樂(lè)創(chuàng)作從形式、體裁到風(fēng)格都承襲了18世紀(jì)以海頓、莫扎特為代表的古典音樂(lè)風(fēng)格,而且預(yù)示或體現(xiàn)了19世紀(jì)浪漫主義的特征�！禼小調(diào)第三鋼琴協(xié)奏曲》(Op.37)創(chuàng)作于1800年-1801年,是其音樂(lè)風(fēng)格走向成熟的代表作。這一作品也正是體現(xiàn)了以上這一特點(diǎn)。這部作品1803年4月在維也納首次演出,由貝多芬親自彈奏,此后就受到經(jīng)久不衰的歡迎。本文試圖通過(guò)對(duì)《第三鋼琴協(xié)奏曲》的分析與研究,在揭示18世紀(jì)末、19世紀(jì)初社會(huì)文化歷史環(huán)境,以及他的生活經(jīng)歷與創(chuàng)作觀念對(duì)這部作品影響的基礎(chǔ)上,從多方面去探求這部作品的獨(dú)特的音樂(lè)創(chuàng)作手法和蘊(yùn)涵的貝多芬精神。 本文共分四個(gè)部分: 第一部分:論述了貝多芬一生的生活道路和四個(gè)階段的創(chuàng)作軌跡,力求凸現(xiàn)生活經(jīng)歷與環(huán)境的變遷給他的創(chuàng)作理念,創(chuàng)作風(fēng)格帶來(lái)的影響。 第二部分:是本文的中心部分。分別從“創(chuàng)作背景”、“涉及作品精神、情感內(nèi)涵的幾個(gè)因素”、“作品的音樂(lè)本體分析”三個(gè)方面對(duì)《第三鋼琴協(xié)奏曲》進(jìn)行了比較詳細(xì)的論述和分析,重點(diǎn)在中間兩個(gè)方面。一、“涉及作品精神、情感內(nèi)涵的幾個(gè)因素”:1.從宏觀的文化視角論述了時(shí)代的社會(huì)歷史環(huán)境因素對(duì)貝多芬思想及音樂(lè)創(chuàng)作觀念的影響,作品中所蘊(yùn)涵的“英雄主義”及“人道主義精神”正是對(duì)這一影響因素的反映。2.前輩作曲家的影響因素:通過(guò)闡述貝多芬音樂(lè)與他的古典音樂(lè)先驅(qū)之間的淵源關(guān)系,表明了前輩音樂(lè)家在音樂(lè)創(chuàng)作手法、美學(xué)觀念及美學(xué)思想對(duì)《c小調(diào)第三鋼琴協(xié)奏曲》的影響。3.文學(xué)、詩(shī)歌的影響因素論述了貝多芬與歌德、席勒的作品深厚的文化血緣關(guān)系,這不僅是貝多芬音樂(lè)創(chuàng)作的源泉,而且他們的文學(xué)作品中所表達(dá)的人道主義思想更是貝多芬一生所追求的信念。4.德國(guó)古典哲學(xué)的影響闡述了康德的哲學(xué)思想對(duì)貝多芬的精神內(nèi)涵的重要作用。貝多芬正是賦予鋼琴協(xié)奏曲以康德的“引力和斥力”中尖銳性和戲劇性沖突的哲學(xué)內(nèi)涵,表現(xiàn)出他創(chuàng)作中的中心思想。二、“作品的音樂(lè)本體分析”先是論述了巴洛克的獨(dú)奏協(xié)奏曲到古典協(xié)奏曲的淵源關(guān)系,然后從繼承性和創(chuàng)新因素的創(chuàng)作特點(diǎn)上對(duì)作品的音樂(lè)結(jié)構(gòu)、動(dòng)機(jī)的展開(kāi)、調(diào)性的表現(xiàn)意義、賦格段的引入
[Abstract]:Beethoven was a great German composer, pianist and an outstanding representative of Vienna classical music school. His music creation, from form, genre to style, inherits the classical musical style represented by Haydn and Mozart in the 18th century, and indicates or embodies the characteristics of romanticism in the 19th century. < C minor Piano Concerto No. 3 > Op. 37) was written from 1800 to 1801. Is its musical style to mature representative works. This work also embodies the above characteristics. The work, which was first performed in Vienna in April 1803 and played by Beethoven himself, has been well received ever since. Through the analysis and research of the third Piano Concerto, this paper attempts to reveal the social and cultural historical environment in the late 18th century and the early 19th century, as well as the influence of his life experience and creative ideas on this work. From many aspects to explore the unique music of this work and the spirit of Beethoven. This paper is divided into four parts: The first part discusses Beethoven's life path and four stages' creation track, and tries to highlight the influence of the change of life experience and environment on his creative idea and creation style. The second part is the central part of this paper. The third Piano Concerto is discussed and analyzed in detail from three aspects: "creation background", "several factors related to the spirit of the works, several factors of emotional connotation" and "Music Noumenon Analysis of the works". The emphasis is on the middle two. First, "several factors related to the spirit and emotional connotation of the work": 1. This paper discusses the influence of the social and historical environmental factors of the times on Beethoven's thought and musical creation from the macroscopic cultural perspective. The heroism and humanitarianism contained in the works are the reflection of this influential factor. The influential factors of the older composers: by expounding the relationship between Beethoven's music and his classical music pioneers, it is shown that the musicians of the older generation used their music creation techniques. The influence of Aesthetic idea and Aesthetic thought on Piano Concerto No. 3 in C minor. The influential factors of literature and poetry discuss the deep cultural relationship between Beethoven and Goethe Schiller's works, which is not only the source of Beethoven's music creation. And the humanitarianism thought expressed in their literary works is Beethoven's pursuit of faith. 4. The influence of German classical philosophy expounds the important function of Kant's philosophy thought to Beethoven's spiritual connotation. Beethoven endowed the piano concerto with the philosophical connotation of sharp and dramatic conflict in Kant's Gravity and repulsion, which showed the central idea in his creation. Second, the music Noumenon Analysis of works first discusses the relationship between Baroque's solo concerto and classical concerto, and then develops the musical structure and motivation of the works from the aspects of inheritance and creative characteristics of creative factors. The expressive meaning of tonality, the introduction of fugue
【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)】：J624.1

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 吳菲婕;;貝多芬c小調(diào)第三鋼琴協(xié)奏曲第三樂(lè)章演奏分析[J];大眾文藝;2011年20期

相關(guān)碩士學(xué)位論文 前1條

1 杜雅琴;論海頓《D大調(diào)鋼琴協(xié)奏曲》的藝術(shù)特色[D];湖南師范大學(xué);2010年

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本文編號(hào)：1877811