發(fā)布時(shí)間：2019-03-09 15:38

【摘要】： 《c小調(diào)鋼琴協(xié)奏曲(KV.491)》,是莫扎特在維也納進(jìn)入創(chuàng)作高產(chǎn)時(shí)期的一部極具個(gè)性的恢弘之作。莫扎特鋼琴協(xié)奏曲體裁的作品多為大調(diào),而這首《c小調(diào)鋼琴協(xié)奏曲(KV.491)》,卻呈現(xiàn)出另一種不為人熟悉的風(fēng)格。 本文共分三章,以認(rèn)識(shí)論的方法,從理性認(rèn)識(shí)與感性認(rèn)識(shí)兩方面,對(duì)這首協(xié)奏曲的創(chuàng)作特點(diǎn)及演奏詮釋進(jìn)行了深入分析。力圖以理性分析為指導(dǎo),使演奏盡量的貼近這首協(xié)奏曲的精神主旨,從而使音樂表現(xiàn)更具內(nèi)涵。同時(shí),也為其他演奏這首協(xié)奏曲的演奏者,提供一些相關(guān)的資料,豐富人們對(duì)莫扎特小調(diào)作品的理解。 第一章從莫扎特個(gè)性的成熟,促成其創(chuàng)作風(fēng)格的轉(zhuǎn)變談起,結(jié)合《c小調(diào)鋼琴協(xié)奏曲(KV.491)》的創(chuàng)作背景,得出這首協(xié)奏曲形成獨(dú)特風(fēng)格特點(diǎn)的成因。 第二章從分析音樂本體入手,提煉出這首協(xié)奏曲在曲式結(jié)構(gòu)、主題旋律、和聲及調(diào)式調(diào)性、配器的創(chuàng)作特點(diǎn)。 第三章提出并解釋了樂譜版本和演奏中的一些問題,并通過對(duì)樂譜、華彩版本和演奏家的音響資料的綜合分析,結(jié)合第一、二章進(jìn)行的理性分析,以演奏者的角度,闡述對(duì)這首協(xié)奏曲的個(gè)人理解與詮釋。
[Abstract]:Piano Concerto in C minor (KV.491) is Mozart's magnificent work in Vienna when he entered the period of high production. Mozart's piano concerto is mostly in major, but this piano concerto in c minor (KV.491) presents another unfamiliar style. This article is divided into three chapters, with the epistemology method, from the rational cognition and the perceptual cognition two aspects, has carried on the thorough analysis to the composition characteristic and the performance annotation of this concerto. Guided by rational analysis, this paper tries to make the performance of the concerto as close as possible to the spirit of the theme, so as to make the music performance more connotation. At the same time, for other performers of this concerto, provide some relevant information, enrich people's understanding of Mozart minor. The first chapter starts from the maturity of Mozart's personality and promotes the change of his writing style. Combining with the creative background of Piano Concerto in C minor (KV.491), the author draws a conclusion that this concerto formed its unique style characteristics. The second chapter from the analysis of music Noumenon, extract the Concerto in the structure of the melody, theme melody, harmony and tunes, the composition of the characteristics of the orchestration. The third chapter puts forward and explains some problems in the music edition and performance, and through the comprehensive analysis of the music score, the Chinese color version and the sound data of the performer, combined with the rational analysis carried out in the first and second chapters, from the perspective of the performer, This paper expounds the personal understanding and interpretation of this concerto.
【學(xué)位授予單位】：青島大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類號(hào)】：J624.1

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 周洪弛;莫扎特《c小調(diào)鋼琴協(xié)奏曲》（K.491）創(chuàng)作特征與演奏分析[D];杭州師范大學(xué);2012年

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本文編號(hào)：2437608