【摘要】： 貝拉·巴托克(Bela Bartok,1881-1945)是匈牙利杰出的作曲家,民俗音樂(lè)學(xué)家及鋼琴家,是20世紀(jì)最強(qiáng)有力的音樂(lè)天才之一。他從民間音樂(lè)中發(fā)現(xiàn)真正的創(chuàng)作源泉,并把自己的創(chuàng)作根植其中,以高超的技巧將民間音樂(lè)與西方古典、現(xiàn)代技法融為一體。 巴托克的鋼琴作品形式多樣,極富個(gè)性。對(duì)接觸和了解20世紀(jì)的鋼琴音樂(lè)有重要意義。本文選取巴托克不同創(chuàng)作時(shí)期的兩部鋼琴作品《鋼琴小曲14首》、《六首保加利亞節(jié)奏舞曲》,以文獻(xiàn)參考和理論分析為主要研究方法,結(jié)合自己的學(xué)習(xí)實(shí)踐,分別對(duì)兩部作品進(jìn)行作曲技法與演奏方面的分析。從作品的和聲、調(diào)式、節(jié)奏方面探析其創(chuàng)作特點(diǎn)與風(fēng)格,從中顯示出巴托克不同時(shí)期創(chuàng)作手法的轉(zhuǎn)變以及對(duì)民間音樂(lè)聯(lián)系的逐步緊密;從演奏分析中揭示巴托克敲擊性手法的運(yùn)用,他把鋼琴作為了一種打擊樂(lè)器和節(jié)奏樂(lè)器,改變了人們把鋼琴通常作為旋律性樂(lè)器的習(xí)慣,大大擴(kuò)展了鋼琴的表現(xiàn)力。在論文的最后,針對(duì)《鋼琴小曲14首》和《六首保加利亞節(jié)奏舞曲》進(jìn)行了比較研究,總結(jié)兩部作品的相同與不同處,并深入的從音樂(lè)創(chuàng)作的審美意識(shí)方面探究其不同的創(chuàng)作特征。 通過(guò)本文的寫(xiě)作,筆者希望借助對(duì)《鋼琴小曲14首》和《六首保加利亞節(jié)奏舞曲》的分析與研究,一方面能夠展現(xiàn)巴托克獨(dú)特的創(chuàng)作思想與音樂(lè)風(fēng)格,另一方面也為實(shí)際的鋼琴教學(xué)提供一個(gè)參考,擴(kuò)展了鋼琴教學(xué)的視野,充實(shí)了鋼琴教學(xué)的曲庫(kù),使鋼琴學(xué)習(xí)者的學(xué)習(xí)內(nèi)容更加豐富多彩。
[Abstract]:Bela Bartok (1881-1945) is one of the most powerful musical genius in the 20th century. He discovered the real source of creation from the folk music, and rooted his own creation in it, and combines the folk music with the western classical and modern techniques with a great skill. Bartok's Piano Works A variety of forms, with a rich personality. For contact and understanding of the 20 th century The piano music is of great significance. In this paper, the two piano works of the different creative period of Bartock are selected. In combination with their own learning practice, the two works are composed of composing techniques, respectively. The analysis of the method and performance of the works is to explore the characteristics and style of the writing from the aspects of the works and the sound, the mode and the rhythm, and to show the transition of the creative methods in the different period of the Bartock and the gradual and close relation to the folk music; and to reveal the baatar from the performance analysis. The use of a striking technique, which, as a percussion instrument and a rhythm instrument, has changed the habit of people to use the piano as a musical instrument. The expression of the piano is extended. At the end of the paper, a comparative study is made on the "Piano Sonata 14" and the "six-head Bulgarian rhythm dance". The same and different parts of the two works are summarized and the aesthetic consciousness of the music creation is deeply discussed. Through the writing of this paper, the author hopes to present the unique creative thought and the music style of Bartok with the help of the analysis and research on the "piano music 14" and the "six-head Bulgarian rhythm dance". On the other hand, it also provides a reference for the actual piano teaching, extends the visual field of the piano teaching, and enriches the music of the piano teaching.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：J624.1

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前5條

1 查力蒙;巴托克三套鋼琴組曲的民間因素研究[D];上海音樂(lè)學(xué)院;2011年

2 張靜;巴托克《第三鋼琴協(xié)奏曲》研究[D];山東師范大學(xué);2012年

3 康長(zhǎng)安;施尼特凱《鋼琴五重奏》創(chuàng)作技法研究[D];河南大學(xué);2007年

4 劉利劍;論巴托克音樂(lè)創(chuàng)作風(fēng)格[D];東北師范大學(xué);2007年

5 張健;匈牙利民族文化之魂[D];湖南師范大學(xué);2012年

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本文編號(hào)：2508651