20世纪上半叶小提琴协奏曲华彩段的结构意义研究

发布时间：2018-06-17 03:24

本文选题：华彩段 + 20世纪　；参考：《上海音乐学院》2010年硕士论文

【摘要】： 我们现在经常提到的华彩段一般指古典主义时期器乐协奏曲中的华彩段,它出现在乐章结束之前,以终止四六和弦上的延长音记号表示,并标有'Cadenza"字样,是一个由演奏者即兴发挥的独奏段落。它是乐曲整体结构中不可分割的一部分,具备了一定的结构意义。而在19世纪之后,华彩段产生了很大变化。虽同样以“Cadenza"作标记,以独奏为特征,但是它的位置开始不像古典主义时期那样固定了,作曲家可以根据作品结构的需要来安排华彩段。在18世纪古典主义时期的代表作曲家莫扎特确立了协奏曲的基本模式,规范了华彩段的位置之后,华彩段便成为演奏家即兴炫技的场所,它具备了一定的结构意义。19世纪,门德尔松将华彩段放入他小提琴协奏曲的展开部与再现部之间,使华彩段在结构上发挥了连接的功能。到了20世纪,华彩段不仅是作品中不可分割的一部分,而且承担起“协调者”的作用。打个比方,它像一个拼图的零件——可以变成任何形状被安插在所需位置；它又像一个载体或是一种形式,来承载作品中的某个部分(如展开部、呈示部、再现部等)。华彩段可以不再为满足演奏家炫技需要而存在,它具备了一定的结构功能。展开部与再现部之间的华彩段承继了浪漫主义时期华彩段的连接与展开功能;乐章之间的华彩段则打破了华彩段作为乐章内部段落的范畴,成为一个具独立意义的段落；承载展开部或是再现部的华彩段则颠覆了华彩段作为附加段落的结构性质,成为结构的核心部分。20世纪小提琴协奏曲中的华彩段,在继承19世纪作曲家创作器乐华彩段的基础上,大大丰富了对作品结构方面的功能作用,其结构意义自然得到了极大的提升。本文以结构意义为重点来研究20世纪上半叶小提琴协奏曲中的华彩段,收集并分析西贝柳斯等作曲家的18首小提琴协奏曲来考察华彩段的位置及结构功能,按照其位置不同将华彩段归纳为中部与再现部之间的华彩段、再现部与尾声之间的华彩段、尾声中的华彩段、作为呈示部的华彩段、作为展开部的华彩段、作为再现部的华彩段及乐章间华彩段七大类。并从20世纪之前小提琴协奏曲华彩段结构意义概述、20世纪上半叶小提琴协奏曲华彩段结构功能继承及异化这三个方面来论述20世纪上半叶小提琴协奏曲中华彩段的所具备的不同结构意义。希望能够解答20世纪华彩段存在的意义及在作曲家结构小提琴协奏曲时所发挥的功能作用。当然,也希望笔者通过对本文的写作,能为华彩段的进一步研究提供一定的参考。
[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.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J622.1

【引证文献】