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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4869


    Title: 從古典到浪漫:德奧鋼琴四重奏探討;From Classical to Romatic period:The study of piano quartet in German and Austrian
    Authors: 鄭夙玲;Su-Ling Cheng
    Contributors: 藝術學研究所
    Keywords: 孟德爾頌;舒曼;布拉姆斯;德奧;鋼琴四重奏;莫札特;Mendelssohn;Mozart;piano quartet;Austrian;German;Schumann;Brahms
    Date: 2009-06-26
    Issue Date: 2009-09-22 09:34:33 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 橫跨十八世紀,直至莫札特兩首作品的問世,鋼琴四重奏才開始有了音樂史上象徵指標性的作品,以德奧作曲家為例,到布拉姆斯為止,共有七首鋼琴四重奏作品,歷經百年的蛻變和發展使其成為弦樂四重奏之外另一種四重奏經典樂種。 本論文的論述,主要從鋼琴四重奏成熟前過渡的發展,探討四聲部重奏曲低音聲部鍵盤樂器的轉變過程。相關背景的範圍溯源上至十七世紀,將其置放於歷史脈絡中來說明它何以成形、蛻變,最後藉由莫札特的作品驗證它地位的奠定與對後世的影響,再由此延伸至本論文的重心──浪漫時期。十九世紀寫作鋼琴四重奏音樂家,孟德爾頌、舒曼,布拉姆斯如何刻畫出鋼琴四重奏於浪漫時期不同階段的風格取向。 鋼琴四重奏相對於四把同質性弓弦樂器在合奏作品裡,鋼琴大半承擔音色區分的職責,異質性的聲響色澤因有鋼琴的加入,展現出寬廣的音域、變化的力度,同時引發節奏、音型、織度、演奏技巧前所未有的擴展,為了凸顯本論文的特色,乃將研究方向聚睛審視 「鋼琴」於譜面內蘊的傳達與要求,剖析它在樂曲中角色的扮演,從了解鋼琴由純粹的旋律音型到具豐富的音樂內涵,它們之間動機變化、織度運用、聲部關係、曲式應用等種種的關聯性,是具承接關係、或產生交互影響、或以何種樣貌展現音樂家自我的想法。 Stretching across the 18th century, not until two of Wolfgang Amadeus Mozart’s works came out did people start to have piano quartet works of symbolic index in music history. Taking German and Austrian composers as examples, there were seven pieces of piano quartet works in total until the time of Johannes Brahms; through the transformation and development of a hundred years, piano quartet had become another kind of classic quartet genre besides string quartet. The dissertation mainly explored the changing process of bass voice part keyboard instrument of four-voice-part ensemble from the transitional development before piano quartet was mature. The scope of relevant background could be traced back to the 17th century to put it in the historical context to explain how it took shape and transformed, finally, by means of Mozart’s works to verify the establishment of its status and its influence to later ages, and then to extend to the core of the dissertation—Romantic Period. The dissertation expounded how the 19th century musicians that composed piano quartet, such as Felix Mendelssohn, Robert Shuman, and Johannes Brahms depicted piano quartet’s style orientation of different stage in Romantic Period. Comparing to four string instruments of same nature in an ensemble work, a piano mostly undertakes the duty of timbre division in piano quartet, and because of the joining of piano, the heterogeneous tone hues reveals extensive compass and dynamics of variation; meanwhile, it triggers unprecedented expansion in rhythm, figure, texture, and performance skills. To highlight the dissertation’s distinguished feature, the research direction was focused on examining piano’s expression of and demand on music score connotation, dissecting its role play in music, and understanding piano’s development from pure melody and figure to abundant music connotation to comprehend the correlations among motive variation, texture exercise, voice part relationship, and musical form appliance for realizing their being with continuation relationship, producing interaction, or showing a musician’s own idea with what kind of appearance.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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