【摘要】：舒伯特最后三首鋼琴奏鳴曲c小調(diào)(D.958)、A大調(diào)(D.959)、和~bB大調(diào)(D.960)現(xiàn)在被譽為代表了早期浪漫主義音樂的頂峰,但因其篇幅巨大、深刻的內(nèi)省性,以及與貝多芬某些作品的相似性使人們產(chǎn)生了某種忽略和質(zhì)疑。本文以舒伯特最后三首鋼琴奏鳴曲為研究對象,從作品規(guī)模、作曲家在創(chuàng)作風格和個性上的雙重性,模仿背后的獨特性,以及對古典主義形式的創(chuàng)新性等幾個方面,通過具體的分析闡釋,使得人們從新的層面,更全面深入地了解這三首作品的藝術(shù)價值。
[Abstract]:Schubert's last three piano sonatas, in C minor (D.958), A major (D.959), and B B major (D.960), are now hailed as the peak of early romantic music, but because of their large size and deep introspection, And the similarity with some of Beethoven's works makes people have some neglect and doubt. This paper takes Schubert's last three piano sonatas as the research object, from the aspects of the scale of the works, the duality of the composer's creation style and personality, the uniqueness behind the imitation, and the innovation of the classical form, etc. Through the concrete analysis and explanation, people can understand the artistic value of the three works more comprehensively and deeply from the new level.
【學位授予單位】：南京師范大學
【學位級別】：碩士
【學位授予年份】：2005
【分類號】：J605

【引證文獻】

中國期刊全文數(shù)據(jù)庫 前1條

1 王華;;《舒伯特鋼琴奏鳴曲D.960》演奏風格的歷史觀照[J];藝術(shù)百家;2010年S2期

中國碩士學位論文全文數(shù)據(jù)庫 前4條

1 張帆;解讀舒伯特《A大調(diào)鋼琴奏鳴曲》（D.664）[D];燕山大學;2011年

2 郭麗娟;舒伯特降B大調(diào)鋼琴奏鳴曲（D960）的創(chuàng)作特征與演繹分析[D];河南大學;2008年

3 徐敏;舒伯特中期五首鋼琴奏鳴曲研究[D];上海師范大學;2008年

4 劉彭;舒伯特a小調(diào)鋼琴奏鳴曲（Op.42）研究[D];山東師范大學;2010年

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本文編號：2227804