【摘要】：學(xué)習(xí)20世紀(jì)初期印象主義與表現(xiàn)主義鋼琴作品是專業(yè)鋼琴學(xué)習(xí)者的必經(jīng)之路。本文以研究這兩大主義鋼琴音樂的思想內(nèi)涵和演奏技巧為目的,通過以社會學(xué)、哲學(xué)、美學(xué)等角度挖掘其所處時(shí)代的特殊風(fēng)貌與作曲家的個(gè)人經(jīng)歷及思想特征。并針對兩大主義重要作曲家德彪西和勛伯格的具體鋼琴作品進(jìn)行細(xì)致分析,力求找到更科學(xué)的演奏技巧和音樂處理方法。對兩大主義同時(shí)進(jìn)行研究,不僅利于對比,也利于找出鋼琴藝術(shù)發(fā)展的共性,探討兩大主義互為矛盾的風(fēng)格下蘊(yùn)藏的統(tǒng)一性。作為現(xiàn)代主義的兩大基石,把握印象主義與表現(xiàn)主義鋼琴藝術(shù)風(fēng)格對進(jìn)一步學(xué)習(xí)更為現(xiàn)代的鋼琴作品大有裨益。
[Abstract]:Learning the piano works of impressionism and expressionism in the early 20th century is the only way for professional piano learners. The purpose of this paper is to study the ideological connotation and playing skills of the two piano music, and to explore the special style of the era and the personal experience and ideological characteristics of the composer from the angles of sociology, philosophy, aesthetics and so on. And the two important composers Debussy and Schoenberg made a detailed analysis of the specific piano works in order to find more scientific playing techniques and music processing methods. The study of the two doctrines at the same time is not only conducive to comparison, but also conducive to finding out the common features of the development of piano art, and to explore the unity of the two doctrines under the contradictory style. As the two cornerstones of modernism, grasping the piano art style of impressionism and expressionism is of great benefit to the further study of more modern piano works.
【學(xué)位授予單位】：吉林藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：J624.1
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本文編號：2226800