【摘要】：德米特里·德米特里耶維奇·肖斯塔科維奇(Dimitri.Dmitriyevich.Shostakovich)是前蘇聯(lián)時(shí)期最重要的作曲家之一,也是20世紀(jì)最偉大的作曲家之一,并被后人譽(yù)為是“20世紀(jì)的貝多芬”。所創(chuàng)作的音樂作品體裁涉及廣泛,其中鋼琴作品也是他創(chuàng)作的重要構(gòu)成部分。肖斯塔科維奇的鋼琴作品《24首前奏曲與賦格》與巴赫的《平均律鋼琴曲集》同被譽(yù)為復(fù)調(diào)音樂的巔峰之作。《24首前奏曲與賦格》是肖斯塔科維奇為了表達(dá)對(duì)巴赫的敬意而創(chuàng)作,所以作品中繼承了巴赫《平均律鋼琴曲集》的創(chuàng)作模式與技巧基礎(chǔ),但更多的還是揉進(jìn)了當(dāng)時(shí)時(shí)代、民族、個(gè)人風(fēng)格的復(fù)調(diào)音樂新風(fēng)格。在這部作品中,肖斯塔科維奇對(duì)其內(nèi)容、節(jié)奏、調(diào)性思維方式、曲式結(jié)構(gòu)等方面都進(jìn)行了積極地探索與創(chuàng)新。其中以密接和應(yīng)寫成的賦格再現(xiàn)部的創(chuàng)新尤為突出,并且在24首賦格中都有密接和應(yīng)的這個(gè)寫作技法,所以也使得密接和應(yīng)的這個(gè)技法獲得了巨大的生命力,并且在整部作品中也被賦予更為重要的意義。密接和應(yīng)是在賦格主題再現(xiàn)時(shí)使用,它會(huì)大大增加作品中的緊張感,所以密接和應(yīng)出現(xiàn)的地方往往也是賦格的高潮。在高潮部分時(shí),大部分的鋼琴演奏家都會(huì)給予這個(gè)部分一些力度或速度變化地處理,以便提醒聽眾高潮來臨。對(duì)于力度變化來說,一般是在高潮部分給以重音強(qiáng)調(diào)地處理,便于和其他段落部分形成對(duì)比。但是對(duì)于高潮部分的速度變化來說,尤其是肖斯塔科維奇這部20世紀(jì)的鋼琴作品,在節(jié)奏速度方面會(huì)與傳統(tǒng)鋼琴作品的節(jié)奏及演奏速度有所區(qū)別。而且由于演奏家的國別、民族、時(shí)代背景、年齡、個(gè)性、演奏技術(shù)等的不同,他們對(duì)于演奏的速度變化也會(huì)有各自差異處理。所以本文是基于前人研究的基礎(chǔ)上,對(duì)密接和應(yīng)這個(gè)寫作技法進(jìn)行更深入地了解,并且著重分析不同鋼琴演奏家演奏的版本,對(duì)其在密接和應(yīng)的演奏速度差異上進(jìn)行研究。旨在通過對(duì)肖斯塔科維奇賦格中密接和應(yīng)的演奏速度研究,幫助筆者更深入地了解肖斯塔科維奇及其這部作品,并幫助筆者及其他演奏者能夠在今后演奏中更好地詮釋它的速度,能夠更細(xì)致地演奏好這部作品。
[Abstract]:Dimitri.Dmitriyevich.Shostakovich is one of the most important composers in the Soviet era and one of the greatest composers in the 20th century. The genres of his musical works involve a wide range of genres, in which piano works are also an important part of his creation. Shostakovich's piano works < 24 prelude and fugue > and Bach's "the collection of musical instruments of the mean" are both regarded as the pinnacle of polyphonic music. < 24 prelude and fugue are created by Shostakovich in order to express his respect for Bach. So it inherits the creation mode and skill foundation of Bach's "the collection of average piano music", but most of them come into the new polyphonic music style of the times, nationality and individual style. In this work, Shostakovich actively explores and innovates its content, rhythm, mode of thinking and structure. Among them, the innovation of the Fugue reproduction unit, which is composed of dense and should be written, is particularly outstanding, and in 24 fuges, there are writing techniques that are closely connected and should be written, so it also makes this technique of dense connection and response obtain great vitality. And in the whole work is also given more important significance. The dense connection and should be used in the reappearance of the fugue theme, it will greatly increase the tension in the work, so the place where the dense joint and should appear is also the climax of the fugue. During the climax part, most pianists give the part some force or speed change to remind the audience of the orgasm. For dynamics changes, it is generally in the climax to stress the processing, and facilitate the contrast with other paragraphs. But for the change of the speed of the climax, especially Shostakovich's piano works of the 20th century, the rhythm and speed of the traditional piano works will be different from those of the traditional piano works. Moreover, due to the different countries, nationalities, background, age, personality, playing skills of the players, they will have their own differences in the speed of performance. Therefore, this paper is based on the previous research, to the close and should this writing techniques for a more in-depth understanding, and focus on the analysis of different versions of piano players, and in the performance of the speed of the differences in the study. The purpose of this study is to help the writer to understand Shostakovich and his work more deeply through the study of the speed of Shostakovich's close connection and response in fugue. It also helps the author and other performers to better interpret its speed in the future and to play the work in more detail.
【學(xué)位授予單位】：廣州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J624.1

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