李斯特B小调奏鸣曲的文本与演绎

发布时间：2018-02-24 15:32

本文关键词： 手稿 “浮士德说” 宗教性引子材料演奏版本　出处：《上海音乐学院》2006年硕士论文　论文类型：学位论文

【摘要】：李斯特的B小调奏鸣曲，在十九世纪钢琴文献中占有里程碑式的特殊地位。这部传世巨作，不仅开创了单乐章奏鸣曲式的先河，其无处不在的主题变形技法和双重奏鸣曲式功能，庞大而复杂的结构，殷实的内容和色彩斑斓的和声语汇，都为我们的解读与演绎提供了广博的空间。有关李斯特B小调奏鸣曲的研究广见于学术界。笔者经过对作品手稿文本的仔细观察分析，结合列举针对作品的各家之言中几个最典型的观点论断，提出了有关作品在文本解读和实践演绎中的三大问题： 1，作品内容究竟作何种解释? 2，作品结构究竟该如何划分——四部或三部? 3，演绎者对待音乐文本究竟应采取怎样的态度? 本文围绕此三个问题，分五个章节展开阐述：第一章阐述B小调奏鸣曲产生的渊源的问题；第二章阐述B小调奏鸣曲手稿所反映的问题；第三章阐述有关作品内容理解的问题；第四章阐述有关作品的段落划分与结构布局的问题；第五章则阐述演绎者在对该作品作演绎时所抱持的态度。通过以上阐述，笔者认为，李斯特B小调奏鸣曲的产生受前辈德奥作曲家“创作体裁混用”的影响，作品以单乐章奏鸣曲式写成，同时具备多乐章奏鸣套曲的特征，曲式上呈现为“双重功能”；作品在结构上分为三大部分，以行板插部为中心，行板插部前后相对应，整体上呈现均衡、对称的形态，作品内部则具有环环相套的特征；作品的基本内容，是作曲家借用歌德的长诗《浮士德》中的三个艺术形象，反映自身内心活动，表达了作曲家对人生、人性的怀疑、悲叹、反省的态度；基于作品本身的基调和性质，笔者认为作品的演绎态度，应当更多的从音乐本质出发，，从内省、反思的角度入手，以达到作品本身所呈现的平衡、对称、完满的艺术形态，避免浪漫主义作品演绎中过度情绪化的表现倾向。
[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.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：J624.1

【引证文献】