【摘要】：梅特涅爾是19世紀(jì)末20世紀(jì)初的俄羅斯鋼琴家、作曲家，他對(duì)音樂史和音樂體裁史最大的貢獻(xiàn)是創(chuàng)立了鋼琴抒情-敘事性小品體裁——童話(Fairy Tales)，為浪漫主義鋼琴小品體裁增加了新的類型。本文分五個(gè)章節(jié)對(duì)梅特涅爾及其鋼琴童話進(jìn)行分析說明。 梅特涅爾的創(chuàng)作觀受古典主義和浪漫主義音樂很大影響，，音樂具有明確的文學(xué)性含義。德國(guó)和俄羅斯兩種傳統(tǒng)文化、德國(guó)古典、浪漫派作曲家和俄羅斯古典傳統(tǒng)音樂在梅特涅爾的創(chuàng)作中都有明確的體現(xiàn)，論文第一章“梅特涅爾音樂創(chuàng)作的文化背景”對(duì)此問題進(jìn)行了論述。第二章“梅特涅爾鋼琴童話的體裁特征”涉及四方面的內(nèi)容：名稱的來源、童話與其它小品體裁的比較、童話的標(biāo)題性含義與六種不同形象特征。第三章“梅特涅爾鋼琴童話的創(chuàng)作階段分期及主要特性”對(duì)三十八部鋼琴童話按照三個(gè)創(chuàng)作階段進(jìn)行作品內(nèi)容、性格、音樂結(jié)構(gòu)等方面的分析，對(duì)不同階段的主要特征進(jìn)行了歸納，并做出分類。第四章“梅特涅爾代表性作曲技法特征總結(jié)”是在第三章的基礎(chǔ)上，將梅特涅爾最具代表性與普遍性的兩種作曲技法——音樂素材的高度統(tǒng)一與多樣性節(jié)奏的運(yùn)用作以詳盡的分析。第五章“《童話》與《童話奏鳴曲》的比較”論述了童話體裁在其它體裁音樂創(chuàng)作中的滲透，并以童話奏鳴曲的創(chuàng)作為實(shí)例進(jìn)行了比較性分析。 本文通過以上的分析、研究、論述，選取了最能代表梅特涅爾創(chuàng)作成就的鋼琴童話作為研究對(duì)象，采用音樂史學(xué)研究和音樂本體分析相結(jié)合并輔以比較音樂學(xué)的研究方法，試圖對(duì)梅特涅爾這位因創(chuàng)作觀念和技法與當(dāng)時(shí)所處時(shí)代(20世紀(jì)初)的音樂潮流相悖而沒有引起足夠重視的作曲家進(jìn)行重新解讀和定位，以期取得學(xué)術(shù)界的共鳴，并對(duì)梅特涅爾重新做出客觀的歷史評(píng)價(jià)。
[Abstract]:Metnell was a Russian pianist and composer at the end of the 19th century and the beginning of the 20th century. His greatest contribution to the history of music and genre is the creation of piano lyricism-narrative genre-fairy tale (Fairy Tales), adds new types to Romantic piano genre. This paper is divided into five chapters to analyze Metnell and his piano fairy tales. Metnell's view of creation was greatly influenced by classicism and romanticism, and music had a clear literary meaning. German and Russian traditional cultures, German classical, romantic composers and Russian classical traditional music are clearly reflected in Metrnell's creation. In the first chapter, "the cultural background of Metrnell's music creation", this problem is discussed. The second chapter, "the genre characteristics of Metnell's Piano Fairy Tales", involves four aspects: the origin of the name, the comparison between the fairy tale and other genres, the title meaning and six different image features of the fairy tale. Chapter three, "the stages and main characteristics of the creation of Metnell's Piano Fairy Tales", analyzes 38 piano fairy tales in terms of their content, character and music structure according to the three stages of their creation. The main features of different stages are summarized and classified. Chapter four, "Summary of the characteristics of Metrnell's representative composition techniques", is based on the third chapter. This paper makes a detailed analysis of Metrnell's two most representative and universal composing techniques, the high unity of music material and the application of diverse rhythm. Chapter five, "comparison between fairy tale" and "fairy tale sonata", discusses the penetration of fairy tale genre in other genres of music creation, and takes the creation of fairy tale sonata as an example to carry on comparative analysis. Through the above analysis, research and discussion, this paper selects the piano fairy tale, which is the most representative of Metrnell's creation achievement, as the research object, and combines the music history research with the music ontology analysis and the comparative musicology research method. This paper attempts to reinterpret and position Metnell, a composer whose creative ideas and techniques are contrary to the musical trends of his time (early 20th century) and did not receive sufficient attention, in order to gain a sympathetic resonance in the academic world. And to Metrnell to make the objective historical evaluation again.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：J624.1

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