(34.226.234.102) 您好!臺灣時間:2021/05/12 10:46
字體大小: 字級放大   字級縮小   預設字形  
回查詢結果

詳目顯示:::

我願授權國圖
: 
twitterline
研究生:戴伶螢
研究生(外文):Ling-ying Tai
論文名稱:蛻變-亨德密特大提琴Opus8
指導教授:張毅心
指導教授(外文):CHANG, I-Hsing
學位類別:碩士
校院名稱:國立中山大學
系所名稱:音樂學系研究所
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:2009
畢業學年度:97
語文別:中文
論文頁數:56
中文關鍵詞:大提琴作品八亨德密特
外文關鍵詞:CelloOpus 8Hindemith
相關次數:
  • 被引用被引用:0
  • 點閱點閱:240
  • 評分評分:系統版面圖檔系統版面圖檔系統版面圖檔系統版面圖檔系統版面圖檔
  • 下載下載:0
  • 收藏至我的研究室書目清單書目收藏:0
保羅•亨德密特的早期創作,就如同一般作曲家的創作初期,難免受到當時的音樂環境或同時期音樂家的影響。亨德密特早期創作年代,正值浪漫樂派的尾聲,也是後浪漫音樂的狂熱時期,且隨著二十世紀的到來,眾多音樂家開始追求更新穎的聲響與創作技法,因而逐漸出現各種異於浪漫與後浪漫的音樂創作。亨德密特作品八《給大提琴與鋼琴的三首小品》正是處於如此音樂時代過渡期的作品,因而樂曲中所可能包含的各種浪漫、後浪漫與二十世紀後的新音樂風格與創作手法,成為本文欲探討的主要內容。
於本研究中的第一個章節,將先介紹亨德密特的生平及創作風格概要,爾後對於十九到二十世紀過渡期間的音樂環境做一整體的介紹,期望在對該作品之風格與特色的瞭解上能有所幫助。在第二章節中,則分別深入分析作品八的三首樂曲,尋求並探討當中所可能包含的十九到二十世紀過渡期間的音樂風格與手法,或許可由該曲的瞭解中,進一步勾勒出時代的背景與遷移。
The early compositions of Paul Hindemith, like those of other composers in their early years, were more or less influenced by contemporary musicians and musical environment. The early years of Paul Hindemith was right at the end of the romantic period as well as the enthusiastic period of post-romantic music. Moreover, with the coming of the 20th century, many musicians pursued the innovative sonority
and compositional techniques. Consequently, they composed many compositions which were different from those of the romantic or post-romantic styles. The opus 8, “Three Pieces for Cello and Piano”, of Paul Hindemith was composed at this transitional period. The various new musical idioms and compositional techniques of romantic, post-romantic and the 20th century, which may possibly be contained in this composition, will be the main concern of this essay.
In the first chapter of this dissertation, Paul Hindemith’s biography and brief abstract of his compositional style will first be introduced, and then followed by an overall introduction of the musical environment during the transitional period in the 19th and 20th century. In the second chapter, we will further analyze the three pieces in opus 8 individually, seeking and researching the musical style and compositional techniques in the transitional period between 19th and 20th century, in order to draft the background and transition of the times. Hopefully, this will help to understand the styles and characteristics of this piece.
目 錄
前言----------------------------------------------------------------1
第一章 亨德密特之傳統與創新------------------------------2
第一節 亨德密特生平概述------------------------------------2
第二節 創作與風格---------------------------------------------6
第三節 後浪漫與二十世紀初期之音樂風格與-----------11
第二章 亨德密特作品八之創作手法-----------------------17
第一節 亨德密特〈作品八,第一號,綺想曲〉--------18
第二節 亨德密特〈作品八,第二號,幻想小品〉-----27
第三節 亨德密特〈作品八,第三號,詼諧曲〉--------39
結論---------------------------------------------------------------50
參考書目---------------------------------------------------------51
參考文獻
西文
Albright, Daniel ed.. Modernism and Music: An Anthology of Sources. Chicago :
University of Chicago Press, 2004.
Austin, William W.. Music in the 20th Century, from Debussy through Stravinsky.
New York: W. W. Norton, 1966.
Boatwright, Howard. “Paul Hindemith as a Teacher.” The Musical Quarterly, Vol.
50, No. 3 (Jul., 1964): 279-89.
Browne, Arthur G.. “Paul Hindemith and the Neo-Classic Music.” Music & Letters,
Vol. 13, No. 1 (Jan., 1932): 42-58.
Bruhn, Siglind. The Temptation of Paul Hindemith: Mathis der Maler as a Spiritual
Testimony. Stuyresant, N.Y.: Pendragon Press, 1998.
Dahlhaus, Carl. Translated by Mary Whittall. Between Romanticism and
Modernism: Four Studies in the Music of the Later Nineteenth Century.
Berkeley : University of California Press, 1980.
David, Neumeyer. The Music of Paul Hindemith. New Haven : Yale University
Press, 1986.
Forte, Allen and Paul Hindemith. “Paul Hindemith''s Contribution to Music Theory
in the United States.” Journal of Music Theory, Vol. 42, No. 1 (Spring, 1998):
1-14.
Fraser, Andrew A.. “Paul Hindemith.” Music & Letters, Vol. 10, No. 2 (Apr.,
1929): 167-76.
Hindemith, Paul. English Translation by Arthur Mendel. A Concentrated Course in
Traditional Harmony : Exercises for Advanced Student. New York: Associated
Music Pub., 1981.
______. The Craft of Musical Composition. Mainz ; New York: Schott, 1970.
______. Elementary Training for Musicians. Mainz ; New York: Schott, 1974.
______. A Composer’ s World, Horizons and Limitations. Garden City :
Doubleday, 1961.
Hindemith, Paul and Arthur Mendel. “Methods of Music Theory.” The Musical
Quarterly, Vol. 30, No. 1 (Jan., 1944): 20-8.
Kostka, Stefan M.. Materials and Techniques of Twentieth-Century Music. Upper
Saddle River, N.J. : Pearson Prentice Hall, 2006.
Luttmann, Stephen. Paul Hindemith: A Guide to Research. New York: Routledge,
2005.
Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern
Europe and America. New York: Norton, 1991.
Neumeyer, David. “Tonal, Formal, and Proportional Design in Hindemith''s Music.”
Music Theory Spectrum, Vol. 9 (Spring, 1987): 93-116.
Ortmann, Otto. ‘An Analysis of Paul Hindemith''s “Unterweisung im Tonsatz”.’
Bulletin of the American Musicological Society, No. 4 (Sep., 1940): 26-28.
52
Reich, Willi and M. D. Herter Norton . “Paul Hindemith.” The Musical Quarterly,
Vol. 17, No. 4 (Oct., 1931): 486-96.
Schonberg, Harold C.. The Lives of the Great Composers. New York: W.W.
Norton, 1997.
Scott, Marion. “Paul Hindemith: His Music and Its Characteristics.” Proceedings
of the Musical Association, 56th Sess. (1929 - 1930): 91-108.
Seaton, Douglass. Ideas and Styles in the Western Musical Tradition. Mountain
View, Calif.: Mayfield Pub. Co., 1991.
Skelton, Geoffrey ed. and trans. Selected Letters of Paul Hindemith. New Haven :
Yale University Press, 1995.
Thomson, William. “Hindemith''s Contribution to Music Theory.” Journal of
Music Theory, Vol. 9, No. 1 (Spring, 1965): 52-71.
Yates, Peter. Twentieth Century Music: Its Evolution from the End of the Harmonic
Era into the Present Era of Sound. New York, Pantheon Books, 1967.
中文
林勝儀譯,葛利菲斯(Paul Griffiths)著。 《現代音樂史 : 從德步西到布雷兹》。
臺北市: 全音樂譜發行,民78 年。
楊沛仁著。 《音樂史與欣賞》。 臺北市: 美樂出版社,民90 年。
曾靜雯。 《亨德密特音樂的調性研究》。 國立中央大學藝術學研究所碩士學位
論文,89 學年度。
陳俞宏。 《亨德密特長笛奏鳴曲作品研究及詮釋探討》。 東吳大學音樂學系碩
士班演奏組示範講習會論文,民國93 年。
樂譜
Hindemith, Paul. Capriccio für Violoncello und Klavier, Op. 8 Nr. 1. Germany:
Breitkopf & Härtel, 1945.
Hindemith, Paul. Phantasiestück für Violoncello und Klavier, Op. 8 Nr. 2.
Germany: Breitkopf & Härtel, 1945.
Hindemith, Paul. Scherzo für Violoncello und Klavier, Op. 8 Nr. 3. Germany:
Breitkopf & Härtel, 1945.
網站
亨德密特基金會(Hindemith Foundation):http://www.hindemith.org.(瀏覽時間
民國98 年5 月3 日)
葛洛夫線上音樂辭典(Oxford Music Online):http://www. Oxfordmusiconline.com.
QRCODE
 
 
 
 
 
                                                                                                                                                                                                                                                                                                                                                                                                               
第一頁 上一頁 下一頁 最後一頁 top
系統版面圖檔 系統版面圖檔