门德尔松《六首钢琴前奏曲与赋格》OP.35音乐风格与教学研究

发布时间：2018-08-01 09:15

【摘要】： 浪漫主义最初的几十年是古典主义与浪漫主义的交汇期,这个时期的第一代作曲家还存有古典主义理念,作曲家试图将古典形式与浪漫情感相协调,他们吸收应用了古典时期的许多因素,延续了前人的创作手法。尤其在门德尔松于1829年指挥演出了巴赫的《马太受难曲》后,浪漫主义的作曲家纷纷效仿前人创作了清唱剧、赋格作品等,在形式上出现了大量复古的创作。门德尔松的赋格曲是浪漫时期音乐转型过程中的产物,是作曲家在古典形式下表达内心情感的作品。本文试图从四个方面就门德尔松的《六首钢琴前奏曲与赋格》OP.35进行分析,希望能对这套作品有一个较全面和客观的认识。论文的第一章介绍门德尔松的音乐生平及艺术观形成的环境因素,对门德尔松本人的音乐成长道路和音乐创作的背景环境有一个较全面的认识。第二章阐述了前奏曲与赋格的源流,从“前奏曲”、“赋格”和组合成套的“前奏曲与赋格”两部分分别概述起源与发展;再谈门德尔松的“前奏曲与赋格”,概括他创作这种体裁的美学价值及结构特征。第三章从古典特征和浪漫风格两方面对门德尔松的《六首钢琴前奏曲与赋格》OP.35进行分析和研究,论证了这套作品的音乐风格特征——具有古典与浪漫风格的二重性。最后一章笔者详细地分析了门德尔松《前奏曲与赋格》OP.35中的第一首,从这首作品的曲式、演奏等方面给予教学提示。
[Abstract]:The first decades of Romanticism were the confluence of classicism and romanticism, and the first generation of composers still had classicist ideas, and composers tried to reconcile classical forms with romantic emotions. They absorbed and applied many factors of the classical period, and continued the previous creative techniques. Especially after Mendelssohn conducted and performed Bach's "Matthew's Passion" in 1829, Romantic composers emulated their predecessors to create oratorios and fugue works, and a large number of retro works appeared in form. Mendelssohn's fugue is the product of the musical transition in the romantic period, and it is the work of the composer expressing his inner feelings in the classical form. This paper attempts to analyze Mendelssohn's "six Piano Preludes and Fugue" OP.35 from four aspects, hoping to have a more comprehensive and objective understanding of this set of works. The first chapter introduces Mendelssohn's musical life and the environmental factors of the formation of the artistic view, and has a comprehensive understanding of Mendelssohn's own music growth path and background environment of music creation. The second chapter expounds the origin and development of the prelude and fugue, including the prelude, the fugue and the combination of the prelude and fugue, and then discusses Mendelssohn's prelude and fugue. The aesthetic value and structural characteristics of this genre are summarized. Chapter three analyzes and studies Mendelssohn's "six Piano Preludes and Fugue" OP.35 from the aspects of classical characteristics and romantic style, and proves that this set of works has the duality of classical and romantic style. In the last chapter, the author analyzes the first one of Mendelssohn's Prelude and Fugue in OP.35 in detail, and gives teaching hints from the aspects of the composition and performance of this work.
【学位授予单位】：西安音乐学院
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J624.1

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