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研究生:楊登凱
研究生(外文):Teng-kai Yang
論文名稱:舒伯特《A大調鋼琴奏鳴曲》D.959的理解、想像與詮釋
論文名稱(外文):An understanding, imagination, and interpretation to Schubert's A major piano sonata, D.959
指導教授:蔡采秀蔡采秀引用關係
指導教授(外文):Tsai-ciao Tsai
學位類別:碩士
校院名稱:東吳大學
系所名稱:音樂學系
學門:藝術學門
學類:音樂學類
論文種類:學術論文
論文出版年:2006
畢業學年度:95
語文別:中文
論文頁數:81
中文關鍵詞:舒伯特鋼琴奏鳴曲D.959詮釋學音樂羅森布蘭德爾鄉愁
外文關鍵詞:SchubertpianosonataD.959musicinterpretationCharles RossenBrendelnostalgia
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本文是以舒伯特奇人及舒伯特的音樂在不同時代被理解的方式作為切入點來探討舒伯特的《A大調鋼琴奏鳴曲 D.959》。其中顯露了各個時代的不同關注,也顯露了這些關注所反應的人類心理。

舒伯特時代的維也納處於生活上基礎設施不足,政治上高壓統治的狀況。在他的時代人們視他為一個敏感害羞而令人喜愛的天才,但並未認識他創作的完整面貌。而十九世紀後半期舒伯特則被視為具有天才但作曲技巧不足且生前沒沒無聞的作曲家。二十世紀以後人們逐漸發現舒伯特在創作與性格的各個面向,他也晉身偉大作曲家的行列。

羅森將舒伯特規避終止式裡不同和弦對比力量的和聲結構稱為「波浪曲式」,並指出此手法在奏鳴曲式的應用造成了一種漫遊、隨時可以改變方向的音樂效果。而以此理解《A大調鋼琴奏鳴曲 D.959》就會看到此曲包含的愛、自然、鄉愁、流浪、荒涼、死亡這些主題。

綜觀各個時代的看法,會發現其實是人類存在的各個課題在說話,他們主導了舒伯特的創作,也主導了人們解讀這些創作的視角。
This thesis discuss Schubert’s A major piano sonata (D.959) by exploding how Schubert (himself) and Schubert’s music was and is understood. This process reveals the concerns of different ages and the human minds behind the concerns.

In Schubert’s time, Vienna lacked for infrastructure and was under autocracy. This was the environment he worked in. People deemed him as a sensitive and loving genius, but didn’t recognize the full value of his works. In the second half of19th century, Schubert was known as a talented but not skillful composer. After th beginning of 20 century, the new realization of Schubert’s character and music came out; then Schubert stood in the roll of Great Composers.

Charles Rosen described the harmonic structure that can avoid the contrastive power between chords in cadence in Schubert’s works as “wave form”, and pointed out this structure makes a wondering feeling when the structure is applied to sonata form. By a similar way of understanding, the A major sonata reveals the themes about love, nature, nostalgia, wondering, bleakness, and death.

After knowing the views of different ages, I find that the human existing speaks; it determined how Schubert composed and how people see his works.
1. 緒論………………………………………………………………………………1

2. 舒伯特「們」……………………………………………………………………6
2.1 舒伯特生活的維也納……………………………………………………...6
2.2 舒伯特時代的舒伯特………………………………………………………9
2.3 死後的舒伯特………………...…………………………………………...12
2.4 今日的舒伯特……...……………………………………………………...16

3. 舒伯特的鋼琴奏鳴曲與音樂特點……………………………………………….20
3.1 舒伯特的鋼琴奏鳴曲…...…………...……………………………………20
3.2 舒伯特的和聲特點………...……………………………………………...30
3.3 其他特點……………………...…………………………………………...37

4. 《A大調奏鳴曲》(D.959)的詮釋……………………………………………..41
4.1 第一樂章……………………………………………...…………………...43
4.2. 第二樂章……………………………………………...…………………..55
4.3. 第三樂章.....................................................................................................63
4.4. 第四樂章.....................................................................................................67

5. 結論……………………………………………………………………………….76
參考書目……………………………………………………………………………..78
Badura-Skoda, Eva (1990). The Piano Works of Schubert, in R. Larry Todd (ed.), Nineteenth-Century Piano Music. New York: Schirmer Books.
Botstein, Leon (1997). Realism transformed: Franz Schubert and Vienna, in Christopher H. Gibbs (ed.), The Cambridge Companion to Schubert. Cambridge: Cambridge University Press.
Brendel, Alfred (1976). Schubert’s Piano Sonatas, 1822-1828, in Musical Thoughts & Afterthoughts. New Jersey: Princeton University Press.
Brendel, Alfred (1990). Schubert’s Last Sonatas, in Music Sounded Out. London.
Butt, John (2001). Authenticity. The New Grove Dictionary of Music and Musicians. London: Macmillan.
Cook, Nicholas (1987). A Guide to Musical Analysis. New York: Norton.
Cook, Nicholas (1990). Music, Imagination, and Culture. New York: Oxford University Press.
David Montgomery (1997). Franz Schubert’s music in performance: a brief history of people, events, and issues, in Christopher H. Gibbs (ed.), The Cambridge Companion to Schubert. Cambridge: Cambridge University Press.
Dubal, David (1998)。《鋼琴家談演奏藝術》(顧連理譯)。台北:世界文物。
Gibbs, Christopher H. (1997). “Poor Schubert”: images and legends of the composer, in Christopher H. Gibbs (ed.), The Cambridge Companion to Schubert. Cambridge: Cambridge University Press.
Gibbs, Christopher H. (1997). German reception, in Christopher H. Gibbs (ed.), The Cambridge Companion to Schubert. Cambridge: Cambridge University Press.
Gibbs, Christopher H. (2000). The life of Schubert. Cambridge: Cambridge University Press.
James Webster (2001). Sonata form. The New Grove Dictionary of Music and Musicians. London: Macmillan
Kinderman, William (1997). Schubert’s piano music: probing the human condition, in Christopher H. Gibbs (ed.), The Cambridge Companion to Schubert. Cambridge: Cambridge University Press.
Muxfeldt, Kristina (1997).Schubert’s songs: the transformation of a genre, in Christopher H. Gibbs (ed.), The Cambridge Companion to Schubert. Cambridge: Cambridge University Press
Newbould, Brian (1997). Schubert: The Music and the Man. Berkley: University of California Press.
Notley, Margaret (1997). Schubert’s social music: the “forgotten genres”, in Christopher H. Gibbs (ed.), The Cambridge Companion to Schubert. Cambridge: Cambridge University Press
Rosen, Charles (1972). The Classical Style. New York: Norton.
Rosen, Charles (1988). Sonata Forms. New York: W. W. Norton.
Rosen, Charles (1997). Schubert’s inflections of Classical form, in Christopher H. Gibbs (ed.), The Cambridge Companion to Schubert. Cambridge: Cambridge University Press.
康謳主編(1999)。《大陸音樂辭典》。台北市,全音樂譜出版社。(1980)。
琳達˙尼徳(Lynda Nead)。《女性裸體》(侯宜人譯)。台北市:遠流。
黃于真 (2000)。《從詮釋學角度論漢斯利克《論音樂美》中的情感與形式》。未出版之碩士論文,國立台灣大學音樂學研究所,台北市。
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