發(fā)布時(shí)間：2018-03-21 08:58

  本文選題：柴科夫斯基　切入點(diǎn)：《六首鋼琴小品》(Op.19)　出處：《山東師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：彼得·伊里奇·柴科夫斯基(Pyotr Ilyich Tchaikovsky,1840～1893)是19世紀(jì)著名作曲家,俄羅斯音樂史上最有影響力的音樂家之一。從傳統(tǒng)音樂的廣闊領(lǐng)域里,不論是交響音樂還是歌劇、舞劇,不論是室內(nèi)音樂還是獨(dú)唱、獨(dú)奏,都少不了柴科夫斯基。他繼承了格林卡民族音樂創(chuàng)作精神,又汲取了西歐音樂傳統(tǒng),把專業(yè)的創(chuàng)作技巧和民間音樂結(jié)合起來。從他的音樂里體現(xiàn)出了俄羅斯民族音樂的雙面性格,由于俄羅斯地域遼闊,有70%的土地都是草原,地廣人稀,人們難免會(huì)出現(xiàn)懷舊、傷感的思緒,同時(shí)又帶有俄羅斯人民的彪悍性格,作品中不乏出現(xiàn)英雄性。他音樂當(dāng)中充滿那種蒼涼的旋律,但是又體現(xiàn)出勇士般的矯健步伐,美麗而熱情的夢幻戰(zhàn)勝冬日迷途的現(xiàn)實(shí),為俄羅斯乃至世界音樂文化做出了寶貴的貢獻(xiàn)。柴科夫斯基的《六首鋼琴小品》(Op.19)分別為《黃昏時(shí)的幻想》《幽默詼諧曲》《紀(jì)念冊的一頁》《夜曲》《隨想曲》和《F大調(diào)主題與變奏》,是其完成于1873年的早期鋼琴作品。這些小品生動(dòng)地反映出俄羅斯人民的生活和柴科夫斯基內(nèi)心的情感獨(dú)白。本文對(duì)柴科夫斯基的《六首鋼琴小品》(Op.19)主要從音樂本體分析和演奏分析兩方面入手,通過對(duì)六首作品進(jìn)行逐一的音樂分析,分別從旋律、節(jié)奏和調(diào)式調(diào)性等音樂要素入手,體現(xiàn)作品的古典性、抒情性、戲劇性、民族性以及交響性的特征。在這六首作品中,運(yùn)用了模進(jìn)、持續(xù)音、柱式和弦以及小調(diào)式,模進(jìn)的運(yùn)用使復(fù)雜的旋律在柴科夫斯基的描繪下顯示出細(xì)膩、淳樸和抒情性;主、屬持續(xù)音發(fā)揮導(dǎo)向性作用,旋律始終受原調(diào)的影響和約束,音樂更加統(tǒng)一;小調(diào)的運(yùn)用,表現(xiàn)了俄羅斯音樂中特有的韻味,一股股抒情又帶有憂傷的氣息撲面而來;柱式和弦的大量使用,音樂輝煌明亮、鏗鏘有力,如同交響樂隊(duì)齊奏,音響效果更加立體化,展現(xiàn)作品的英雄性和交響性,與作品中抒情的旋律形成戲劇性對(duì)比。這些柴科夫斯基常用的音樂語匯的運(yùn)用匯成柴氏獨(dú)特的音樂特征和風(fēng)格�！读卒撉傩∑贰冯m然每首作品篇幅短小,但演奏技巧涉獵較為全面,雙音、八度、和弦、大跳、歌唱性連奏和非連奏等。通過筆者的演奏認(rèn)為手指觸鍵的角度、力度、速度及深度,不同的音色處理對(duì)手指觸鍵的要求,復(fù)調(diào)織體各聲部聲音和層次的處理,控制各個(gè)聲部的旋律走向及音量,都需要手腕、手肘的配合以及臂、肩乃至整個(gè)身體去協(xié)調(diào)運(yùn)用,達(dá)到“琴人合一”的效果。對(duì)《六首鋼琴小品》的研究,進(jìn)一步了解柴科夫斯基作品的風(fēng)格以及如何演奏六首作品提供參考依據(jù),豐富柴科夫斯基音樂作品的文本文獻(xiàn),為今后的音樂工作者和音樂愛好者學(xué)習(xí)和研究柴科夫斯基的音樂作品提供了參考。
[Abstract]:Peter Ilyich Tchaikovsky (18400-1893) is one of the most influential musicians in the history of Russian music in 19th century. Tchaikovsky was indispensable to both indoor and solo music. He inherited the spirit of Greenka's national music creation and drew on Western European musical traditions. Combine professional creative skills with folk music. From his music, he reflects the dual character of Russian folk music. Because of Russia's vast territory, 70% of the land is grasslands, and the land is sparse, so it is inevitable that people will have nostalgia. Sad thoughts, at the same time with the strong personality of the Russian people, there is no lack of heroism in his works. His music is full of that desolate melody, but also reflect the heroic pace, Beautiful and passionate dreams conquer the reality of winter wanderings, Tchaikovsky's "six Piano sketches" (Op. 19) is "Fantasy at Evening" "humor humor" "A Page of the Commemorative Book" "Nocturne" and "Nozzles" and < F Major "respectively. "theme and variation", his early piano works completed in 1873. These sketches vividly reflect the life of the Russian people and Tchaikovsky's inner emotional monologue. Mainly from two aspects of music ontology analysis and performance analysis, Through the music analysis of the six works, the classical, lyrical, dramatic, national and symphonic characteristics of the works are embodied from the aspects of melody, rhythm and tone. With the use of die progression, continuous sound, column chord and minor key, the complex melodies are shown to be delicate, simple and lyric under Tchaikovsky's description; the main, continuous sound plays a leading role. The melody has always been influenced and restrained by the original tune, and the music is more unified. The use of minor key shows the unique charm of Russian music, with a wave of lyricism and sadness coming oncoming. With the extensive use of columnar chords, the music is brilliant and bright. Sonorous and forceful, like symphonic band playing together, the sound effect is more three-dimensional, showing the heroic and symphonic nature of the work, A dramatic contrast to the lyrical melodies in his works. The use of these musical terms used by Tchaikovsky converges into Chaikovsky's unique musical characteristics and style. < six Piano sketches > although each piece is short in length, However, the performance skills are more comprehensive, double tone, octave, chord, big jump, singing and non-accompaniment. The author thinks that the angle, intensity, speed and depth of finger touch key, different timbre processing opponent touch key requirements, The processing of various sounds and levels of polyphonic fabric and the control of the melodic direction and volume of each voice require the coordination of the wrist, elbow, arms, shoulders and even the whole body. The study of "six Piano pieces" provides a reference basis for further understanding the style of Tchaikovsky's works and how to play them, so as to enrich the textual literature of Tchaikovsky's musical works. It provides a reference for future music workers and music lovers to study and study Tchaikovsky's music works.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J624.1

【參考文獻(xiàn)】

中國期刊全文數(shù)據(jù)庫 前3條

1 王建坤;張鑫鑫;;淺析柴可夫斯基鋼琴作品“F大調(diào)主題與變奏”的演奏[J];音樂時(shí)空(理論版);2012年09期

2 韓龍福;;柴科夫斯基OP.19 NO.6變奏曲分析[J];大眾文藝;2012年18期

3 高曼曼;;柴科夫斯基“F大調(diào)主題與變奏曲”的演奏注釋[J];音樂生活;2007年07期

中國碩士學(xué)位論文全文數(shù)據(jù)庫 前4條

1 王丹;柴科夫斯基《六首鋼琴曲》Op.19的音樂風(fēng)格與演奏解析[D];武漢音樂學(xué)院;2014年

2 樊菁菁;柴可夫斯基鋼琴小品op.21教學(xué)與演奏分析[D];西安音樂學(xué)院;2013年

3 付潤涵;柴科夫斯基《F大調(diào)創(chuàng)作主題與變奏曲Op.19,No.6》音樂與演奏的研究[D];東北師范大學(xué);2011年

4 賈伊娜;柴科夫斯基鋼琴套曲《十二首中等難度的鋼琴曲》（OP40）的分析和教學(xué)應(yīng)用[D];東北師范大學(xué);2006年

，

本文編號(hào)：1643147