發(fā)布時間：2018-05-03 00:12

  本文選題：貝多芬 + 晚期鋼琴奏鳴曲��； 參考：《西南大學》2006年碩士論文

【摘要】：路德維�！し病へ惗喾�(ludwig van Beethoven 1770-1827)，是德國偉大的作曲家。他創(chuàng)作的32首鋼琴奏鳴曲在鋼琴藝術史中占有獨一無二的位置，他把鋼琴奏鳴曲這一形式發(fā)展到了一個新的高峰，提高了鋼琴奏鳴曲的藝術表現(xiàn)力。他的鋼琴奏鳴曲是每位學琴者的必修課程，也是鋼琴家的必演曲目。 作為古典樂派最后一為大師，各國學者對貝多芬的研究熱潮從未間斷，有關貝多芬的論述和著作不計其數(shù)。長期以來，，貝多芬的早期和中期鋼琴奏鳴曲以其英雄性為世人所認同，對晚期奏鳴曲風格的理解則有所困難，彈奏他的晚期作品也成了一件棘手的事。本文通過對古今中外貝多芬文獻的資料收集，在對鋼琴奏鳴曲的縱向發(fā)展概況以及對貝多芬早期和中期鋼琴奏鳴曲橫向研究的基礎上，以貝多芬晚期5首鋼琴奏鳴曲為對象，從創(chuàng)作背景、創(chuàng)作特征等方面進行較為深入的理論分析，并綜合諸多演奏家和筆者演奏的實踐，對貝多芬鋼琴奏鳴曲的演奏進行詮釋，在此基礎上為更好的演奏其作品提供幫助，并為今后的教學工作提供一點參考。 全文主要分為三大部分：第一部分介紹奏鳴曲的歷史發(fā)展，貝多芬鋼琴奏鳴曲的地位及三個時期。第二部分介紹貝多芬晚期鋼琴奏鳴曲的創(chuàng)作背景和創(chuàng)作特征，對作品曲式結構、調性與和聲、賦格、旋律等方面進行研究。第三部分從彈奏速度、力度的分析、旋律的處理、裝飾音的彈奏、踏板的運用等方面進行演奏技巧的研究，進一步深化對貝多芬晚期鋼琴奏鳴曲的理解，并通過不同演奏家的演奏表現(xiàn)，分析貝多芬晚期鋼琴奏鳴曲音樂表現(xiàn)上的多樣性和豐富性，加深對作品的理解。
[Abstract]:Ludwig van Beethoven was a great German composer. His 32 piano sonatas play a unique role in the history of piano art. He develops the form of piano sonata to a new peak and improves the artistic expression of piano sonata. His piano sonata is a compulsory course for every pianist and a required repertoire for pianists. As the last master of classical music school, scholars from all over the world have never stopped studying Beethoven, and there are countless works about Beethoven. For a long time, Beethoven's early and intermediate piano sonatas have been recognized by the world for their heroism, but it is difficult to understand the style of late sonatas. Based on the data collection of Beethoven's literature, the vertical development of piano sonatas and the horizontal study of Beethoven's early and middle piano sonatas, this paper takes five piano sonatas in the late period of Beethoven as the object. From the background of creation, creative characteristics and other aspects of a more in-depth theoretical analysis, and integrated with the practice of many performers and the author, Beethoven piano sonata performance interpretation, On this basis for better performance of his works to provide help, and for the future teaching work to provide a little reference. The first part introduces the historical development of sonata, the position and three periods of Beethoven's piano sonata. The second part introduces the background and characteristics of Beethoven's late piano sonatas, and studies the structure, tonality and harmony, fugue, melody and so on. In the third part, from the aspects of the speed of playing, the analysis of intensity, the treatment of melody, the playing of decorative sound and the application of pedals, the author makes a further study on the performance skills, and further deepens the understanding of Beethoven's late piano sonatas. The diversity and richness of Beethoven's late piano sonatas are analyzed through the performance of different performers, so as to deepen the understanding of his works.
【學位授予單位】：西南大學
【學位級別】：碩士
【學位授予年份】：2006
【分類號】：J624.1

【引證文獻】

相關碩士學位論文 前3條

1 黃海瀾;貝多芬晚期鋼琴奏鳴曲中的賦格研究[D];福建師范大學;2009年

2 鄭瑜;貝多芬晚期五首鋼琴奏鳴曲演奏技法芻議[D];西南大學;2011年

3 劉偉明;析貝多芬鋼琴奏鳴套曲中奏鳴曲式連接部的創(chuàng)作特點[D];湖南師范大學;2010年

本文編號：1836073