【摘要】：鋼琴套曲《四季》是柴科夫斯基具有代表性和較高藝術(shù)價(jià)值的一部鋼琴套曲,更是標(biāo)題性音樂(lè)的代表作。本文選取殷承宗、米哈伊爾·普列特涅夫、弗拉基米爾·阿什肯納齊和莉迪亞·阿蒂繆,這四位不同年齡、不同背景、不同國(guó)籍的著名鋼琴家的演奏錄音,著重探討演奏時(shí)所表現(xiàn)的不同風(fēng)格和技巧,以及對(duì)音樂(lè)細(xì)節(jié)的不同處理方式,從譜面版本、速度、踏板等幾方面逐一對(duì)每首樂(lè)曲進(jìn)行細(xì)致的研究,從而揭示了表演藝術(shù)中的多樣性。 鋼琴演奏藝術(shù),也被稱(chēng)為“二度創(chuàng)作”,這是一個(gè)足以容納不同時(shí)代的千百種藝術(shù)個(gè)性的天地。在這個(gè)天地里,從無(wú)永恒不變、沒(méi)有唯一的評(píng)價(jià)標(biāo)準(zhǔn)。這既是演奏藝術(shù)評(píng)價(jià)的困難之處,又是演奏藝術(shù)具有無(wú)窮魅力的一個(gè)原因。藝術(shù)個(gè)性,是屬于演奏家的內(nèi)在素質(zhì),但在演奏樂(lè)曲時(shí),則外化為對(duì)該曲獨(dú)特的藝術(shù)處理。我們欲考察不同的藝術(shù)個(gè)性,莫過(guò)于比較不同演奏家彈奏同一作品時(shí)的不同藝術(shù)處理。 通過(guò)聆聽(tīng)筆者發(fā)現(xiàn),不同演奏家彈奏同一作品中的差異并不難被感受到。然而,想要將這些差異準(zhǔn)確的用文字表述出來(lái)卻十分困難。其中大量的是“只可意會(huì)不可言傳”,即便用最先進(jìn)的儀器進(jìn)行頻譜繪制,也無(wú)法將音色及情感方面的種種微妙差異揭示無(wú)余。所以,本文的研究將盡可能依靠于“可言傳”的,“靠得住”的事實(shí)進(jìn)行分析,從而,透過(guò)這些不同來(lái)開(kāi)闊眼界、拓寬思路,深化我們對(duì)柴科夫斯基《四季》組曲的認(rèn)識(shí)和理解,最終有利于形成自己的演奏風(fēng)格。
[Abstract]:Piano suite "four Seasons" is Tchaikovsky's representative and high artistic value piano suite, but also the masterpiece of title music. This article selects Yin Chengzong, Mikhail Pletnev, Vladimir Ashkenazi and Lydia Artimus, the four famous pianists of different ages, backgrounds and nationalities. Focusing on the performance of different styles and skills, as well as the different handling of the music details, from the spectrum version, speed, pedal and other aspects of each piece of careful research, Thus revealed the variety of performing arts. Piano playing art, also known as "second creation", is a world capable of accommodating thousands of different artistic personalities of different times. In this world, there is no permanent, there is no unique evaluation criteria. This is not only the difficulty of performing art evaluation, but also the reason why performance art has infinite charm. The artistic personality belongs to the inner quality of the performer, but when playing the music, it is externalized as the unique artistic treatment of the music. We want to examine different artistic personality than to compare the different artistic treatment when different players play the same work. By listening, I find that the difference in playing the same piece is not difficult to feel. However, it is difficult to express these differences in words accurately. Many of them are "unspeakable only", and even using the most advanced instruments for spectrum rendering will not reveal the subtle differences in tone and emotion. Therefore, the research in this paper will be based on the analysis of "reliable" facts as far as possible, so that we can broaden our horizons and broaden our thinking through these differences. Deepening our understanding of Tchaikovsky's four Seasons Suite is conducive to the formation of our own playing style.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J624.1

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