門(mén)德?tīng)査傻谝讳撉賲f(xié)奏曲的分析與研究
發(fā)布時(shí)間：2018-06-26 20:18
本文選題：門(mén)德?tīng)査?/strong> + 第一鋼琴協(xié)奏曲 ； 參考：《上海師范大學(xué)》2008年碩士論文
【摘要】： 德國(guó)作曲家菲利克斯·門(mén)德?tīng)査?巴托爾迪從小就受到嚴(yán)格的音樂(lè)訓(xùn)練,生活、創(chuàng)作經(jīng)歷也十分順利,所以他的作品風(fēng)格輕松優(yōu)美,富有詩(shī)意。由于他對(duì)古典音樂(lè)傳統(tǒng)的潛心學(xué)習(xí),使得其音樂(lè)風(fēng)格在浪漫中具有古典音樂(lè)的典雅之美,并在嚴(yán)謹(jǐn)?shù)慕Y(jié)構(gòu)布局中創(chuàng)造精美的詩(shī)情。他在短暫的一生中筆耕不輟,留下了大量的作品,他的創(chuàng)作所涉及的體裁包括交響曲、序曲、清唱?jiǎng)�、鋼琴曲以及其它的作品。他的交響曲以《第三交響曲�?《蘇格蘭》)、《第四交響曲》(《意大利》)最為著名,而鋼琴曲則當(dāng)推他首創(chuàng)的鋼琴體裁形式:無(wú)詞歌,這一體裁成為19世紀(jì)特性曲的重要體裁之一,這些作品集中體現(xiàn)了門(mén)德?tīng)査勺鳛樵缙诶寺髁x音樂(lè)家的音樂(lè)個(gè)性和創(chuàng)作語(yǔ)匯,在音樂(lè)史上占有重要的地位。 門(mén)德?tīng)査傻匿撉賲f(xié)奏曲,相比較起小品集《無(wú)詞歌》而言不是那么有名,在音樂(lè)會(huì)和比賽上是屬于被“遺忘”的作品。本文就以他的《g小調(diào)第一鋼琴協(xié)奏曲》為研究對(duì)象,借助樂(lè)譜和音響資料以及相關(guān)的文獻(xiàn)資料,通過(guò)自己實(shí)際的彈奏,在感性、理性相結(jié)合的基礎(chǔ)上,結(jié)合作品的創(chuàng)作背景、風(fēng)格特征和藝術(shù)特色對(duì)這部作品進(jìn)行分析闡述。 第一鋼琴協(xié)奏曲是門(mén)德?tīng)査汕嗄陼r(shí)期的作品,雖然不及后期的作品那樣成熟,但也體現(xiàn)了作曲家自己的個(gè)性和創(chuàng)作特征,他取消了協(xié)奏曲的雙呈示部寫(xiě)法,將華彩段與整個(gè)樂(lè)曲自然融為一體,使用一個(gè)動(dòng)機(jī)將三個(gè)樂(lè)章貫穿起來(lái),并把三個(gè)樂(lè)章不間斷地連奏下去,這在一定程度上預(yù)示了他的后期作品的成功之處。 目前國(guó)內(nèi)外已陸續(xù)發(fā)表和出版了一些研究門(mén)德?tīng)査杉捌湟魳?lè)作品的文章和書(shū)籍,從不同程度上進(jìn)行了分析研究,在鋼琴作品的研究方面,大多數(shù)文章是對(duì)他的小品《無(wú)詞歌》作研究,或者對(duì)門(mén)德?tīng)査傻匿撉僮髌返乃囆g(shù)特征方面作整體性的概述,而對(duì)他的協(xié)奏曲的研究則相對(duì)較少一些。因此本文將從作品的曲式、和聲、織體以及鋼琴技巧方面來(lái)探悉他的創(chuàng)作特點(diǎn)和藝術(shù)特色,尤其是鋼琴技巧方面,門(mén)德?tīng)査杉扔袀鞒械姆矫?又有某些啟迪浪漫主義中后期的鋼琴演奏發(fā)展的趨勢(shì)的方面。通過(guò)本文的寫(xiě)作,希望可以引起世人對(duì)門(mén)德?tīng)査傻匿撉賲f(xié)奏曲的關(guān)注和加深對(duì)這部作品的了解。
[Abstract]:German composer Felix Mendelson-Bartholdi was trained in music, lived and created smoothly, so his writing style was easy and beautiful and poetic. Because of his absorbed study of classical music tradition, his musical style has the elegance of classical music in romance, and creates exquisite poetic feelings in the rigorous structure layout. Throughout his short life, he wrote a lot of works, including symphonies, prelude, oratorio, piano and other works. His symphonies are most famous for "Symphony No. 3" ("Scotland"), "Symphony No. 4" ("Italy"), and the piano music is one of the most important genres of 19th-century characteristic songs when it comes to his first form of piano genre: song without words. These works embody Mendelssohn's musical personality and creative vocabulary as early Romantic musicians and play an important role in the history of music. Mendelssohn's piano concerto, which is less famous than the anthology of songs without words, is "forgotten" in concerts and competitions. This article takes his Piano Concerto No. 1 in g minor as the research object, with the help of music score, sound data and relevant literature, through his own actual playing, on the basis of the combination of sensibility and rationality, combining the creative background of the work. The style and artistic features of this work are analyzed and elaborated. The first piano concerto was the work of Mendelssohn's youth. Although it was not as mature as the later works, it also reflected the composer's own personality and creative characteristics. He cancelled the double presentation of the concerto. To a certain extent, the success of his later works is indicated by the natural integration of the colorful passages with the whole music, the use of one motive to penetrate the three movements and the uninterrupted concatenation of the three movements. At present, some articles and books on Mendelssohn and his musical works have been published and published at home and abroad. Most of the articles are devoted to the study of his essay "Song without ci", or a holistic overview of Mendelssohn's piano works, while the study of his concerto is relatively few. Therefore, this article will explore his creative and artistic characteristics from the aspects of music, harmony, texture and piano skills, especially in the piano skills, Mendelssohn has inherited aspects. There are also some enlightening aspects of the development of piano playing in the middle and late stages of Romanticism. Through the writing of this paper, we hope to arouse the world's attention to Mendelssohn's piano concerto and deepen the understanding of this work.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類(lèi)號(hào)】：J624.1
【引證文獻(xiàn)】
相關(guān)碩士學(xué)位論文 前5條
1 張穎;門(mén)德?tīng)査傻娜仔蚯芯縖D];中央音樂(lè)學(xué)院;2011年
2 黨冬梅;門(mén)德?tīng)査伞兑獯罄豁懬费芯縖D];西北師范大學(xué);2009年
3 何璇;門(mén)德?tīng)査伞读卒撉偾白嗲c賦格》OP.35音樂(lè)風(fēng)格與教學(xué)研究[D];西安音樂(lè)學(xué)院;2010年
4 馬瑩穎;門(mén)德?tīng)査伞兜诙豁懬绊灨琛薄返囊魳?lè)研究[D];沈陽(yáng)師范大學(xué);2012年
5 王大為;論門(mén)德?tīng)査梢魳?lè)創(chuàng)作的獨(dú)特性[D];重慶師范大學(xué);2012年
，本文編號(hào)：2071279
本文鏈接：http://sikaile.net/wenyilunwen/yinyuetheory/2071279.html
最近更新
教材專(zhuān)著
