本文關鍵詞： 手稿 “浮士德說” 宗教性 引子材料 演奏版本　出處：《上海音樂學院》2006年碩士論文　論文類型：學位論文

【摘要】：李斯特的B小調奏鳴曲，在十九世紀鋼琴文獻中占有里程碑式的特殊地位。這部傳世巨作，不僅開創(chuàng)了單樂章奏鳴曲式的先河，其無處不在的主題變形技法和雙重奏鳴曲式功能，龐大而復雜的結構，殷實的內容和色彩斑斕的和聲語匯，都為我們的解讀與演繹提供了廣博的空間。 有關李斯特B小調奏鳴曲的研究廣見于學術界。筆者經過對作品手稿文本的仔細觀察分析，結合列舉針對作品的各家之言中幾個最典型的觀點論斷，提出了有關作品在文本解讀和實踐演繹中的三大問題： 1，作品內容究竟作何種解釋? 2，作品結構究竟該如何劃分——四部或三部? 3，演繹者對待音樂文本究竟應采取怎樣的態(tài)度? 本文圍繞此三個問題，分五個章節(jié)展開闡述：第一章闡述B小調奏鳴曲產生的淵源的問題；第二章闡述B小調奏鳴曲手稿所反映的問題；第三章闡述有關作品內容理解的問題；第四章闡述有關作品的段落劃分與結構布局的問題；第五章則闡述演繹者在對該作品作演繹時所抱持的態(tài)度。 通過以上闡述，筆者認為，李斯特B小調奏鳴曲的產生受前輩德奧作曲家“創(chuàng)作體裁混用”的影響，作品以單樂章奏鳴曲式寫成，同時具備多樂章奏鳴套曲的特征，曲式上呈現(xiàn)為“雙重功能”；作品在結構上分為三大部分，以行板插部為中心，行板插部前后相對應，整體上呈現(xiàn)均衡、對稱的形態(tài)，作品內部則具有環(huán)環(huán)相套的特征；作品的基本內容，是作曲家借用歌德的長詩《浮士德》中的三個藝術形象，反映自身內心活動，表達了作曲家對人生、人性的懷疑、悲嘆、反省的態(tài)度；基于作品本身的基調和性質，筆者認為作品的演繹態(tài)度，應當更多的從音樂本質出發(fā)，，從內省、反思的角度入手，以達到作品本身所呈現(xiàn)的平衡、對稱、完滿的藝術形態(tài)，避免浪漫主義作品演繹中過度情緒化的表現(xiàn)傾向。
[Abstract]:Liszt's Sonata in B minor occupies a special landmark position in the piano literature in 19th century. This masterpiece has not only created a mono-movement sonata, Its omnipresent theme transformation technique and double sonata function, the huge and complex structure, the rich content and the colorful harmony vocabulary, all provide the extensive space for our interpretation and deduction. The study of Liszt Sonata in B minor has been widely seen in academic circles. After careful observation and analysis of the manuscripts of the works, the author, in combination with some of the most typical viewpoints enumerated in the works, This paper puts forward three major problems in the interpretation and practice of the works:. 1. What is the interpretation of the content of the work? 2. How should the structure of the work be divided into four or three parts? 3. What attitude should the deductor take towards the music text? This paper is divided into five chapters: the first chapter expounds the origin of Sonata in B minor, the second chapter expounds the problems reflected in the manuscript of Sonata in B minor, the third chapter expounds the problems of understanding the contents of the works. Chapter 4th deals with the division of paragraphs and the structural layout of the work, while Chapter 5th describes the attitude of the deductor in the interpretation of the work. The author thinks that the production of Liszt Sonata in B minor is influenced by the "mixed use of creative genres" by the German composer, whose works are written in the form of single movement sonata, and have the characteristics of multi-movement sonata. The structure of the work is divided into three parts, which are centered on the board insertion, corresponding to the front and back, balanced and symmetrical as a whole, and the interior of the work has the characteristics of ring and ring. The basic content of the works is that the composer borrows the three artistic images of Goethe's long poem Faust to reflect his inner activities and expresses the composer's attitude of doubt, lamentation and introspection about life and human nature. Based on the tone and nature of the work itself, the author thinks that the deductive attitude of the work should start from the essence of music, introspection and introspection, in order to achieve the balance, symmetry and perfect artistic form of the work itself. Avoid excessive emotional tendency in the interpretation of romantic works.
【學位授予單位】：上海音樂學院
【學位級別】：碩士
【學位授予年份】：2006
【分類號】：J624.1

【引證文獻】

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1 景鵬;;李斯特b小調鋼琴奏鳴曲之研究[J];大眾文藝;2009年23期

2 陸平;;李斯特《b小調鋼琴奏鳴曲》演奏整體感之初探[J];鋼琴藝術;2012年12期

3 陳國慶;;鋼琴教學中的版本辨析與選擇[J];黑龍江高教研究;2008年08期

4 于紅;;李斯特《b小調鋼琴奏鳴曲》演奏的教學研究[J];樂器;2011年07期

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1 于紅;李斯特《b小調鋼琴奏鳴曲》研究[D];山東師范大學;2008年

2 朱志華;一部用音符寫成的“自傳”[D];武漢音樂學院;2010年

3 李曉囡;音樂作品構建的層次性研究[D];上海音樂學院;2010年

本文編號：1530787