【摘要】：拉威爾的創(chuàng)作風(fēng)格中包含兩個(gè)重要側(cè)面——一方面是對印象派音樂風(fēng)格的繼承與拓展，另一方面是對傳統(tǒng)、尤其是法國古典音樂傳統(tǒng)的繼承。《鏡子》與《庫泊蘭之墓》這兩部作品清晰地反映了這兩個(gè)側(cè)面的結(jié)合：《鏡子》在偏重于表現(xiàn)印象派風(fēng)格的基礎(chǔ)上，又蘊(yùn)涵古典元素；《庫泊蘭之墓》則在著重表現(xiàn)古典風(fēng)格的同時(shí)也添加進(jìn)印象派的新穎色彩，兩者對比鮮明又具有風(fēng)格上的統(tǒng)一性。 本文同時(shí)運(yùn)用對比研究和共性研究，，重點(diǎn)探討了這兩部作品的有關(guān)創(chuàng)作背景資料、具體創(chuàng)作手法與演奏要點(diǎn)這三個(gè)方面。這些研究對于更好地理解和演奏這兩部作品乃至拉威爾其他鋼琴作品，并更全面地掌握拉威爾鋼琴創(chuàng)作的總體風(fēng)格特點(diǎn)都有比較重要的意義。
[Abstract]:Ravel's writing style contains two important facets-one is the inheritance and expansion of the Impressionist musical style, the other is the tradition. Especially the inheritance of the tradition of French classical music. "Mirror" and "Tomb of Kuporan" clearly reflect the combination of these two aspects: "Mirror" in the emphasis on the performance of the Impressionist style on the basis of the implication of classical elements; The Tomb of Kuporan emphasizes on the classical style and adds the new color of Impressionism at the same time, the contrast between the two is sharp and the style is unified. At the same time, by using the comparative study and the general research, this paper focuses on the three aspects of the creation background, the specific creative techniques and the main points of the performance of the two works. These studies are of great significance for better understanding and performance of the two works, as well as other piano works of Ravel, and more comprehensive understanding of the overall style characteristics of Ravel's piano creation.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：J624.1

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前3條

1 林萃;拉威爾鋼琴作品中的“異國情調(diào)”特征初探[D];福建師范大學(xué);2010年

2 劉菁媛;拉威爾早期鋼琴作品和聲技法研析[D];山東師范大學(xué);2007年

3 王卓;從鋼琴組曲《鏡子》探析拉威爾音樂創(chuàng)作風(fēng)格[D];華東師范大學(xué);2010年

本文編號：2338116