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浅析维尼亚夫斯基《浮士德》华丽主题幻想曲

发布时间:2019-03-15 09:57
【摘要】:小提琴演奏艺术的历史迄今为止已经历了四百余年,在这期间诞生了许多技巧高超,风格独立的小提琴演奏家与作曲家,维尼亚夫斯基是继帕格尼尼之后的众多小提琴家中,最接近顶尖的一位。维尼亚夫斯基是十九世纪波兰著名小提琴演奏家、作曲家。其作品既有华丽细腻的浪漫主义气质,又有源于波兰民族粗犷奔放的斯拉夫气质。他在小提琴音乐创作和演奏技法方面的贡献具有划时代的意义;他对19世纪后半叶的小提琴音乐以及之后的俄罗斯小提琴学派在演奏思潮和创作风格上也具有深远影响。目前对于维尼亚夫斯基的关注,普遍仅作为一名“技巧大师”来认识,但这显然是不够的。维尼亚夫斯基对于小提琴演奏性能和技术手段的拓展固然重要,但在他整体的小提琴艺术中,技巧是服务于他高明的创作构思与深刻思想的。因此,本文将简要阐述维尼亚夫斯基的历史地位及其贡献,并以维尼亚夫斯基《浮士德主题幻想曲》为对象,从音乐的戏剧性、叙事性表达,以及曲目中涉及到小提琴技巧两个纬度详细分析,以期能对维尼亚夫斯基《浮士德主题幻想曲》的演奏理解起到全方位分析的作用,对小提琴演奏水平的提高具有一定的辅助作用。
[Abstract]:The history of violin playing art has so far gone through more than 400 years. During this period, many highly skilled and independent violinists and composers were born. Viniavsky was a great number of violinists after Paggnini. The one closest to the top. Viniavsky was a famous Polish violinist and composer in the 19th century. His works both gorgeous and delicate romantic temperament, but also derived from the rugged Slavic temperament of the Polish nation. His contribution to violin music creation and playing techniques was of epoch-making significance, and he also had a profound influence on violin music in the second half of the 19th century and later Russian violin school on the trend of thought and creative style. At present, Viniavsky's concern is generally known as a master of skill, but this is obviously not enough. Although Viniavsky's expansion of violin performance and technical means is important, in his whole violin art, skill serves his brilliant creative ideas and profound thoughts. Therefore, this paper will briefly explain the historical status and contribution of Viniavsky, and take Verniavsky's Faustus theme Fantasia as the object, from the dramatic and narrative expression of music, And a detailed analysis of the violin skills involved in the repertoire, in order to play an all-round analysis of the performance of Viniavsky's Faustus theme Fantasia. It has a certain auxiliary effect on the improvement of violin playing level.
【学位授予单位】:中央音乐学院
【学位级别】:硕士
【学位授予年份】:2017
【分类号】:J622.1

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