浅析舒曼钢琴套曲《狂欢节》Op.9的人物形象刻画与演奏技巧

发布时间：2018-06-14 23:44

本文选题：舒曼 + 标题音乐　；参考：《四川音乐学院》2016年硕士论文

【摘要】：本文以舒曼钢琴套曲《狂欢节》Op.9为研究课题,由绪论,正文和结语三部分组成,其中正文分为三个章节。绪论:介绍本文用“舒曼钢琴套曲《狂欢节》Op.9”作为研究课题的原因及写作思路。正文:第一章舒曼的音乐创作第一节:舒曼的生平简介。罗伯特·舒曼(Robert Schumann,1810-1856),19世纪德国作曲家,音乐评论家,十九世纪上半叶德国音乐史上有突出贡献的人物,在他的艺术创作中运用浪漫主义风格深刻地反映出德国的社会生活与文艺思潮。第二节:舒曼的音乐创作。在舒曼所创作的众多音乐作品中,钢琴作品占据了非常重要的地位,尤其是他首创的钢琴套曲更代表了他的重大成就。1840年之前,钢琴是舒曼音乐创作的唯一领域。他的钢琴音乐作品大部分都创作于这个时期。如《阿贝格变奏》Op.1、《蝴蝶》Op.2、《狂欢节》Op.9、《大奏鸣曲》Op.11、《幻想曲集》Op.12、《交响练习曲》Op.13、《童年情景》Op.15、《幻想曲》Op.17、《克莱斯勒偶记》Op.16等经典代表作都是创作于这个时期。1840年以后,舒曼的创作重心由钢琴转向了声乐、管弦乐、室内乐等音乐领域。在1840年中,舒曼创作有一百多首艺术歌曲,如《桃金娘》Op.25、《妇女的爱情与生活》Op.42、《诗人之恋》Op.48。1842年舒曼旅行至波西米亚,他完成了多部室内乐,如《弦乐四重奏》Op.41,《钢琴五重奏》Op.44,以及唯一的一首钢琴协奏曲《a小调钢琴协奏曲》Op.54。此后又创作了大规模的合唱曲与歌剧,如《格诺费娃》Op.81。第二章舒曼钢琴套曲《狂欢节》Op.9的创作背景与创作特色第一节:《狂欢节》的创作背景。《狂欢节》是舒曼最具影响力的钢琴作品之一,这首作品创作于1934年,完成于1935。舒曼当时正与他的钢琴老师维克的另一名学生,一位叫埃内斯汀的少女相恋。爱情,激发了创作这首作品的灵感,而这首作品所包含的内容却远不止爱情。第二节:《狂欢节》的创作特色。一、标题性与钢琴套曲。标题音乐是李斯特在其创作生涯晚期的首创。标题音乐并不是同时期音乐创作的主流。如肖邦,标题音乐在他的创作中就不多见,肖邦的创作主要以多样化的体裁为主,如:叙事曲、奏鸣曲、练习曲等。标题音乐是浪漫主义音乐晚期的作曲家结合当时的文学、戏剧、绘画等其他艺术所迸发的灵感,从而产生的一种音乐形式,这是一种用音乐倾诉作曲家内心情感,表达作家意图或者是画家意境的形式。套曲是指预定要成套进行演出之乐曲的总称,这一组乐曲有时音乐主题或题材的主题有一定联系。舒曼既是音乐家又是文学家,受到家庭文学气氛影响的舒曼将文学和音乐紧密的联系在一起,他通过对大量优秀的文学作品的理解与自身幻想性的再创造,创新产生了“有标题”的音乐,即标题性的钢琴套曲,他的音乐标题使音乐更贴切生动、使音乐内容更好地展示,给演奏者和听众有了更明确的想象空间。舒曼创作的钢琴套曲能够广泛吸引听众的很重要一点是,他所刻画的人物形象异常的鲜明,他能活灵活现的再现一个个生动的人物形象。二、人物形象与段落设计。《狂欢节》全曲由21个带有标题的小曲构成,每个小曲既独立存在又相互联系。21个标题中有民间传说中的人物如《皮埃罗》、《阿尔列金》、《潘塔隆和柯隆宾娜》。有真实存在的音乐家或是友人:《基阿琳娜》(克拉拉的意大利语发音)、《肖邦》、《爱斯特列拉》、《帕格尼尼》。有舒曼个人自身形象的两个不同侧面:《约瑟比乌斯》、《弗洛列斯坦》。有舒曼本人与当时女友埃内斯汀的感情线:《表白》、《互认》、《倾诉》、《散步》。有烘托整个狂欢节假面舞会气氛的圆舞曲:《高贵的圆舞曲》、《德国圆舞曲》。三、节拍与节奏。在钢琴套曲《狂欢节》中,节拍简约明了,除去《肖邦》选用6/4拍,剩下的二十首小曲无一例外地选用了2/4拍、3/4拍的单拍子形式。但舒曼在单拍子的基础上,选用了别具一格的节奏、织体、旋律设计来表现音乐,描画出一个个呼之欲出的人物形象与具象化的场面。节奏方面,由于音乐需要,他的内心情感起伏、波动非常大,加上舒曼的精神原因,所以运用了大量夸张的rubato节奏。四、力度与速度。《狂欢节》中,舒曼非常重视表现力度的变化与对比,频繁标注力度标记,力度变化的幅度非常大,乐曲的力度对比强烈且极具层次感。《狂欢节》的速度变化也非常丰富,除了21首小曲相互之间的快慢速度各不相同之外,每一段小曲内也会出现速度变化,渐快、渐慢记号频繁标注出现。第三章《狂欢节》Op.9的人物形象刻画与演奏解析舒曼创作的钢琴套曲《狂欢节》由21首带标题的小曲组成,每一首小曲舒曼都为之加上了一个副标题。此节从各个方面深入研究每一首小曲,阐述音乐内涵,并结合音乐在乐句划分、句型塑造、音色设计、踏板应用、力度安排、rubato节奏处理等诸方面作演奏解析。
[Abstract]:This article takes Schuhmann piano suite "Carnival >Op.9" as the research topic, which is composed of three parts: introduction, text and conclusion. The text is divided into three chapters. Introduction: Introduction: the reasons and writing ideas of "Schuhmann piano suite < Carnival Festival" as a research topic. Chapter 1: Chapter 1 of Schuhmann's music creation: Schuhmann's life Brief Robert Schumann (Robert Schumann, 1810-1856), nineteenth Century German composer, music critic, the first half of the nineteenth Century German music history has outstanding contributions, in his artistic creation, the use of romantic style deeply reflected the German social life and literary trend of thought. The second section: the musical creation of Schuhmann. Among the many music works created, piano works occupy a very important position, especially his first piano suite which represents his great achievement..1840 years ago, the piano was the only field of Schuhmann's music creation. Most of his piano music works were created at this time. For example, ">Op.1," "butterfly >Op.2", "madman" >Op.9, ">Op.9", < Sonata >Op.11, 'Fantasia' >Op.12, < Symphony Etude >Op.13, < childhood scene >Op.15, < fantasy >Op.17, < Chrysler as >Op.16, and other classic masterpieces; after this period.1840, Schuhmann's center of gravity is turned from piano to music, orchestral, chamber music and other music fields. In 1840, Schuhmann The creation has more than 100 artistic songs, such as "Myrtle >Op.25," women's love and life >Op.42. < poet's love for >Op.48.1842, Schuhmann traveled to Bohemia, he completed a number of chamber music, such as the string quartet >Op.41, the piano five Quartet >Op.44, and the only Piano Concerto, the piano Concerto of Op.54. after the creation. Large scale chorus and opera, such as "ganopeva >Op.81. second chapter Schuhmann piano suite" Carnival >Op.9 creation background and creative features first section: < Carnival > creation background. "Carnival >" is one of Schuhmann's most influential piano works, which was created in 1934, completed at the time of 1935. Schuhmann and his piano old. Another student in division Vick, a girl named E Hei Steen, love, inspired the creation of the work, and the content of the work is far more than love. Second: the creative features of the carnival. First, title and piano suite. Title music is the first creation of Lester's late creative career. Title music. It is not the mainstream of music creation at the same time. For example, Chopin, the title music is rarely seen in his creation, and Chopin's creation is mainly based on a variety of genres, such as narration, Sonata, and etude. The title music is the inspiration of the late romantic music, which combined with the literature, drama, painting and other art of the time, This is a form of music, a form of music telling the composer's inner feelings, the expression of the writer's intention or the artistic conception of a painter. The set refers to a set of music intended for a complete set of performances. This group of music has a definite connection with the theme or theme of the music. Schuhmann is both a musician and a writer. The influence of Schuhmann on the atmosphere of the family literature is closely linked to Literature and music. Through his understanding of a large number of excellent literary works and the re creation of his own fantasy, he creates a "title" music, the title of the piano suite, the title of his music, which makes the music more vivid and a better display of the content of the music. There is a clearer imagination for performers and listeners. It is important that Schuhmann's piano suite can attract the audience widely. The character of the characters he portrays is unusual, and he can vividly reproduce the vivid characters. Two, the figure and paragraph design. The carnival is composed of 21 headlines. Small pieces of music, each small song is both independent and interrelated with.21 headlines in folklore such as < PI ELO > < allgold >, paltalon and kolenna >. There are real musicians or friends: < Ki Alina > (Clara's Italian pronunciation), Chopin, aester lira, < Paganini >. Schuhmann individual. Two different sides of their own image: "Joseph BIUs", "flererstan >." Schuhmann himself and his girlfriend E Hei Steen's emotional line: < expression >, "mutual recognition >", "walk >". There are round dances to the atmosphere of the whole Carnival masquerade: < noble round dance > >. "German round dance > three, rhythm and rhythm. In Piano Suite < carnival. In the festival, the beat is simple and clear. Except for Chopin's selection of 6/4 pats, the remaining twenty pieces of song choose the 2/4 beat and the single beat form of 3/4. But on the basis of the single racket, Schuhmann chooses a unique rhythm, the fabric, the melody design to show the music, and draw out the images and concrete fields of the character and the concrete. Face. Rhythm, because of the music needs, his inner feelings fluctuate, fluctuate very much, combined with Schuhmann's spiritual reason, so he used a lot of exaggerated rubato rhythm. Four, strength and speed. In the carnival, Schuhmann attaches great importance to the change and contrast of the intensity of expression, the intensity mark is frequently tagged, the amplitude of dynamics is very large, music is very large, music music. Strong and highly hierarchical. The speed change of the carnival is also very rich, in addition to the speed of each of the 21 small pieces of each other, each piece of music will also appear in the speed change, gradually, the gradual mark frequently annotation appeared. Third chapter < Carnival >Op.9's character characterization and performance analysis Schuhmann creation The piano suite < Carnival > consists of 21 headlines, each of which adds a subtitle to Schuhmann. This section makes a thorough study of each piece of music from various aspects, expounds the connotation of music, and combines music in the division of the music, the shape of the sentence pattern, the design of the tone, the application of the pedal, the arrangement of the dynamics, the rubato rhythm handling and so on. Play parsing.
【学位授予单位】：四川音乐学院
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J624.1

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