本文選題：華彩段 + 20世紀(jì)�。� 參考：《上海音樂學(xué)院》2010年碩士論文

【摘要】： 我們現(xiàn)在經(jīng)常提到的華彩段一般指古典主義時期器樂協(xié)奏曲中的華彩段,它出現(xiàn)在樂章結(jié)束之前,以終止四六和弦上的延長音記號表示,并標(biāo)有'Cadenza"字樣,是一個由演奏者即興發(fā)揮的獨奏段落。它是樂曲整體結(jié)構(gòu)中不可分割的一部分,具備了一定的結(jié)構(gòu)意義。而在19世紀(jì)之后,華彩段產(chǎn)生了很大變化。雖同樣以“Cadenza"作標(biāo)記,以獨奏為特征,但是它的位置開始不像古典主義時期那樣固定了,作曲家可以根據(jù)作品結(jié)構(gòu)的需要來安排華彩段。 在18世紀(jì)古典主義時期的代表作曲家莫扎特確立了協(xié)奏曲的基本模式,規(guī)范了華彩段的位置之后,華彩段便成為演奏家即興炫技的場所,它具備了一定的結(jié)構(gòu)意義。19世紀(jì),門德爾松將華彩段放入他小提琴協(xié)奏曲的展開部與再現(xiàn)部之間,使華彩段在結(jié)構(gòu)上發(fā)揮了連接的功能。到了20世紀(jì),華彩段不僅是作品中不可分割的一部分,而且承擔(dān)起“協(xié)調(diào)者”的作用。打個比方,它像一個拼圖的零件——可以變成任何形狀被安插在所需位置；它又像一個載體或是一種形式,來承載作品中的某個部分(如展開部、呈示部、再現(xiàn)部等)。華彩段可以不再為滿足演奏家炫技需要而存在,它具備了一定的結(jié)構(gòu)功能。展開部與再現(xiàn)部之間的華彩段承繼了浪漫主義時期華彩段的連接與展開功能;樂章之間的華彩段則打破了華彩段作為樂章內(nèi)部段落的范疇,成為一個具獨立意義的段落；承載展開部或是再現(xiàn)部的華彩段則顛覆了華彩段作為附加段落的結(jié)構(gòu)性質(zhì),成為結(jié)構(gòu)的核心部分。20世紀(jì)小提琴協(xié)奏曲中的華彩段,在繼承19世紀(jì)作曲家創(chuàng)作器樂華彩段的基礎(chǔ)上,大大豐富了對作品結(jié)構(gòu)方面的功能作用,其結(jié)構(gòu)意義自然得到了極大的提升。 本文以結(jié)構(gòu)意義為重點來研究20世紀(jì)上半葉小提琴協(xié)奏曲中的華彩段,收集并分析西貝柳斯等作曲家的18首小提琴協(xié)奏曲來考察華彩段的位置及結(jié)構(gòu)功能,按照其位置不同將華彩段歸納為中部與再現(xiàn)部之間的華彩段、再現(xiàn)部與尾聲之間的華彩段、尾聲中的華彩段、作為呈示部的華彩段、作為展開部的華彩段、作為再現(xiàn)部的華彩段及樂章間華彩段七大類。并從20世紀(jì)之前小提琴協(xié)奏曲華彩段結(jié)構(gòu)意義概述、20世紀(jì)上半葉小提琴協(xié)奏曲華彩段結(jié)構(gòu)功能繼承及異化這三個方面來論述20世紀(jì)上半葉小提琴協(xié)奏曲中華彩段的所具備的不同結(jié)構(gòu)意義。希望能夠解答20世紀(jì)華彩段存在的意義及在作曲家結(jié)構(gòu)小提琴協(xié)奏曲時所發(fā)揮的功能作用。當(dāng)然,也希望筆者通過對本文的寫作,能為華彩段的進一步研究提供一定的參考。
[Abstract]:What we often refer to now is the flowery section in the classical instrumental concerto, which appears before the end of the movement in order to stop the extended phonetic mark on the four or six chords and to mark it with the words "Cadenza". Is a solo passage improvised by the performer. It is an integral part of the overall structure of music, with a certain structural significance. After the 19 th century, great changes took place in the colorful section. Although "Cadenza" is also used as a mark and characterized by solos, its position is not fixed as it was during the classical period, and composers can arrange colorful sections according to the needs of the structure of the works. After Mozart, the representative composer of the 18th century classicism period, established the basic pattern of the concerto and standardized the position of the colorful section, it became a place for performers to improvise, and it had a certain structural significance in the 19th century. Mendelssohn put the splendor into his violin concerto between the unfolding and reproduction parts, so that the splendor played a connecting function in structure. By the 20 th century, it was not only an integral part of the work, but also a coordinator. For example, it looks like a jigsaw piece it can become any shape that is placed in the desired position, and it acts like a carrier or a form to carry a part of the work (such as an expansion, a presentation, a reproduction, etc.). Colorful segment can no longer meet the needs of the players, it has a certain structural function. The splendor section between the unfolding part and the reproduction section inherits the connection and expansion function of the flowery section during the Romantic period, while the flowery section between the movements breaks the category of the internal paragraph of the movement and becomes a paragraph of independent significance. On the other hand, the flowery section carrying the unfolding part or the reproduction section subverts the structural nature of the flowery section as an additional paragraph, and becomes the core part of the structure, which is in the violin concerto of the 20th century. On the basis of inheriting the 19th century composer's creation of instrumental music, it has greatly enriched the function of the structure of the work, and its structural significance has naturally been greatly enhanced. This paper focuses on the structural significance of the violin concerto in the first half of the 20th century, collected and analyzed 18 Violin Concerto by Sibelius and other composers to investigate the position and structure of the colorful section. According to their different positions, they can be divided into a splendor section between the central part and the reproduction department, a flowery section between the reproduction section and the end, and a flowery segment in the end, as the flowery segment of the presentation section, as the splendor segment of the development section. As the reproduction part of the colorful segment and the movement between the seven major categories of Hua Cai Duan. The structure and function inheritance and dissimilation of Violin Concerto in the first half of 20th century are discussed from three aspects: the structure and function of Violin Concerto in the first half of the 20th century and the Chinese Color Section of Violin Concerto in the first half of the 20th century. Has different structural significance. It is hoped that the significance of the existence of the 20 th century colorful section and its function in the composer's structure violin concerto can be explained. Of course, I also hope that the author through the writing of this article, for the further study of the color section to provide some reference.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J622.1

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 曹宏偉;華彩樂段的美學(xué)探討[D];中央音樂學(xué)院;2011年

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本文編號：2029448