【摘要】：貝多芬的晚期鋼琴奏鳴曲擺脫了古典主義傳統(tǒng)奏鳴曲的創(chuàng)作風(fēng)格,由于人生觀的轉(zhuǎn)變,作品的風(fēng)格和表達(dá)內(nèi)涵發(fā)生了明顯的變化,思想境界得到提升和超脫。鋼琴奏鳴曲Op.109的抒情幻想性風(fēng)格,成為貝多芬晚期鋼琴奏鳴曲中具有浪漫主義風(fēng)格的典范。慢-快-慢的樂章架構(gòu)打破了古典快-慢-快的傳統(tǒng)程序、主題貫穿的大膽創(chuàng)新創(chuàng)作手法使這首奏鳴曲結(jié)構(gòu)極為嚴(yán)密,節(jié)奏多變以及復(fù)調(diào)風(fēng)格的創(chuàng)作頻繁顯現(xiàn)正是貝多芬晚期音樂作品的代表和象征。 筆者對貝多芬鋼琴奏鳴曲Op.109進(jìn)行作品分析,對三個樂章不同的音樂個性研究探討后,從演繹角度提出演奏之我見供讀者參考。
[Abstract]:Beethoven's late piano sonata got rid of the classical traditional sonata's creative style. As a result of the change of outlook on life, the style and expression connotation of the works have changed obviously, and the ideological realm has been promoted and detached. The lyrical fantasy style of piano sonata Op.109 became the model of romanticism in Beethoven's late piano sonata. The slow-fast-slow movement structure breaks the classical fast-slow-fast traditional program, and the bold and innovative creative techniques that run through the theme make the sonata very tightly structured The variety of rhythm and the frequent appearance of polyphonic style are the representatives and symbols of Beethoven's later musical works. The author analyzes Beethoven's piano sonata Op.109, discusses the different musical personality of the three movements, and puts forward my views on performance from the angle of deduction for readers' reference.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J624.1;J614

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本文編號：2228771