【摘要】：約翰內斯·勃拉姆斯(Johannes Brahms,1833-1897)是19世紀下半葉浪漫主義音樂的代表人物,在室內樂與管弦樂創(chuàng)作方面,他繼承了貝多芬與舒伯特的宏大交響性思維。室內樂在勃拉姆斯的作品中占據(jù)較大比重,其生前公開出版的三部小提琴奏鳴曲是其創(chuàng)作頂峰時期的作品�！禛大調第一小提琴與鋼琴奏鳴曲》(OP.78)創(chuàng)作于1878-79年間。雖然是第一次寫作該種體裁的作品,但勃拉姆斯在技法與結構的處理上已臻成熟,該作品中將傷感之情揉入優(yōu)美的旋律之中,反應了作曲家本人對于生與死這一根本問題的思考。本文通過對勃拉姆斯音樂創(chuàng)作思維的研究及對該部作品細節(jié)性的分析,從而探討在實際演繹該作過程中的潛在性問題與解決方法,試圖達到理論與實踐的完美統(tǒng)一。
[Abstract]:Johnannes Johannes Brahms,1833-1897 is a representative figure of romantic music in the second half of the 19 th century. He inherited Beethoven and Schubert's grand symphonic thinking in the creation of chamber music and orchestral music. Chamber music occupies a large proportion of Brahms' works. His three violin sonatas published in his lifetime were his works at the peak of his creation. < Violin and Piano Sonata No. 1 in G major (OP.78) was written in 1878-79. Although it was the first time that the genre had been written, Brahms had matured in his techniques and structure, in which sentimental feelings were rubbed into a beautiful melody, It reflects the composer's own thinking on the fundamental question of life and death. Through the study of Brahms' music creation thinking and the analysis of the detail of the works, this paper discusses the potential problems and solutions in the process of actual deduction of the work, and tries to achieve the perfect unity of theory and practice.
【學位授予單位】：上海音樂學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J62

【參考文獻】

相關碩士學位論文 前1條

1 顧渝蛟;勃拉姆斯《第一小提琴奏鳴曲》音樂分析與演奏研究[D];中央音樂學院;2014年

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本文編號：2280021