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研究生:王文娟
研究生(外文):Wen-Chuan Wang
論文名稱:李給替的鋼琴《練習曲》研究
論文名稱(外文):A Research on Gyorgy Sandor Ligeti’s Piano Etudes
指導教授:王美珠教授魏樂富教授
指導教授(外文):Mei-Chu WangRolf-Peter Wille
學位類別:博士
校院名稱:國立臺北藝術大學
系所名稱:音樂學系博士班
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:2013
畢業學年度:102
語文別:中文
論文頁數:93
中文關鍵詞:李給替鋼琴練習曲
外文關鍵詞:LigetiPianoEtudes
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當代匈牙利作曲家李給替 (Gyorgy Sandor Ligeti, 1923-2006),在二十世紀音樂的發展上,以其原創性的音樂創作理念與獲獎無數的卓越成就,佔有相當重要的地位與影響。晚期從1985年開始創作的一系列鋼琴練習曲,結合多元文化與科學的影響,運用創新的技法,被譽為繼德布西、拉威爾、和巴爾托克之後,二十世紀最具影響力之鋼琴創作;近年來更被列入世界鋼琴大賽之必選曲目中。本文將先巡禮歷史上重要的鋼琴練習曲,再以李給替三冊共十八首的練習曲為特定研究範圍,從演奏者的角度出發,探討其創作手法與鋼琴語彙,內容包括樂曲架構、旋律組織、節奏特徵、力度設計、速度的運用、強奏之表現、艱難技巧之彈奏、張力的詮釋等。

Gyorgy Sandor Ligeti (1923-2006), contemporary Hungarian composer, plays an important role and has made a great impact on the twentieth century world’s music scene with his original ideas of composition and extraordinary achievements. His Piano Etudes which were written during his later period from 1985, combine both multiculturalism and science, and have been regarded as the most influential works for piano after Debussy, Ravel and Bartok. They also have been included in the required repertoire of renowned piano competitions. The thesis gives a general overview of piano etude genre and its evolution throughout music history and specially focuses on the three books of Piano Etudes by Ligeti. The specific research based on the performance aspect includes formal structure, melodic organization, rhythmic character, dynamic devices, tempo, accent, technique difficulties, and the build-up towards musical climax.

中文摘要 i
英文摘要 ii
目錄 iii
譜例目次 iv
圖表目次 vi
凡例 vii

第一章 緒論 …………………………………………………………. 1
第一節 問題意識---------------------- 1
第二節 文獻回顧與探討----------------- 2
第三節 研究限制與架構----------------- 4
第二章 鋼琴練習曲的發展…………………………………. 6
第一節 二十世紀前的鋼琴練習曲---------- 7
第二節 二十世紀後鋼琴練習曲的發展------ 11
第三章 匈牙利作曲家李給替與鋼琴練習曲……. 25
第一節 生平與作品 ---------------------- 26
第二節 鋼琴練習曲 ---------------------- 34
第四章 創作手法的素材基底與鋼琴語彙…………. 38
第一節 素材基底------------------------- 38
第二節 素材基底在鋼琴語彙上的實踐---------- 49
第五章 演奏實務:節奏與演奏版本…………………. 72
第一節 關於節奏的再思考------------------ 72
第二節 李給替委託錄音的經典版本:
Volker Banfield 與Pierre-Laurent Aimard ---- 79

第六章 結論:歷史洪流的新浪潮 ─ 新時代經典-------------------- 85

參考資料 ………………………………………………………………………. 88


外文書目
Aprahamian, Felix, etc.. Heritage of Music:Music in the Twentieth Century. vol.4, Oxford: Oxford University Press, 1988.

Arnold, Denis. The New Oxford Companion to Music.Oxford: Oxford University Press, 1983.

Arom, Simha. The Aksak Rhythm: Structural Aspects Versus Cultural Dimensions. University of Bologna: 9th International Conference on Music Perception and Cognition, 2006.

Baik, Ji Won. “Gyorgy Ligeti’s Piano Etudes: A Polyrhythmic Study.” D.M.A. diss., Florida State University, 2009.

Benward, Bruce and Gary White. Music in theory and practice. vol.1,2. New York: Wm. C. Brown Publishers, fourth edition, 1989.

Bernard, Jonathan W. “Inaudible Structures, Audible Music: Ligeti’s Problem, and His Solution.”Music Analysis 6, 3 (October 1987): 207-236.

-------------------------. “Voice Leading as a Spatial Function in the Music of Ligeti.” Music Analysis 13, No. 2/3, Twentieth-Century Music Double Issue (July-October 1994): 227-253.

Berry, Wallace. Structural Functions In Music. New York: Dover Publishers, Inc.,
1987.
Burge, David. Twentieth Century Piano Music. New York: Schirmer Books, 1990.

Chen, Yung-Jen. “Performance Aspects of Gyorgy Ligeti’s Etudes pour Piano: Fanfares and Arc-en-ciel.” D. M. A. diss., Ohio State University, 2007.

Clendenning, Jane Piper. “Contrapuntal Techniques in the Music of Gyorgy Ligeti.” Ph. D. diss., Yale University, 1989.

Cope, David. New Directions in Music. New York: Wm. C. Brown & Benchmark, sixth edition, 1993.

Cuciurean, John Daniel. “A Theory of Pitch, Rhythm, and Intertextual Allusion for the Late Music of Gyorgy Ligeti.” Ph. D. diss., State University of New York at Buffalo, 2000.

Forte, Allen. The Structure of Atonal Music. New Haven and London: Yale University Press, 1972.

Gordon, Stewart. A History of Keyboard Literature. New York: Schirmer Books, 1996.

Griffiths, Paul. Gyorgy Ligeti: The Contemporary Composer. London: Robson Books, 1983.

-----------------. “Gyorgy Ligeti, Central-European Composer of Bleakness and Humor, Dies at 83.” New York Times, June 13, 2006, Arts section, Late edition.

Grout, Donald J. and Claude V. Palisca. A History of Western Music, 6th ed. New York: W.W. Norton and Company, 2001.
Hinson, Maurice. Guide to the Pianist’s Repertoire, 3rd ed.Indiana University Press, 2000.

Holloway, Robin. “ Ligeti’s Half-Century.” The Musical Times 145, no.1889 (Winter 2004): 54-64.

Kennedy, Michael. ed. The Oxford Dictionary of Music, Revised ed. London: Oxford
University Press, 1994.

Lester, Joel. Analytic Approaches To Twentieth-Century Music. New York: W. W. Norton & Company, 1989.

Ligeti, Gyorgy. Ligeti in Conversation. London: Eulenburg Books, 1983.

-----------------. “On My Etudes for Piano.” Translated by Sid McLauchlan, Sonus 9, no.1(1988):3-7. Reprinted in liner notes to Wergo Compact Disc Wer 60134-5. 1987. Reprinted in French as “ Mes Etudes pour piano: Polyrhythmie et creation.” Translated by Louis Duchesneau. Analyse Musicale 11(April 1988): 4-5.

Randel, Don Michael. The New Harvard Dictionary of Music. London: The Belknap Press of Harvard University, 1986.

Rollin, Robert. “Traditional Canonic Technique in a New Guise.” The Music Review 41(November 1980): 289-296.

Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians, 2nd ed. 29 vols. London: Macmillan, 2001.

-----------------. The New Grove Dictionary of Music and Musicians, 2nd ed. 29 vols. London: Macmillan, 2001. S. v. “Ligeti, Gyorgy,” by Paul Griffiths.

Searby, Mike. “Ligeti’s ‘Third Way’: Non-Atonal Elements in the Horn Trio.” Tempo,
New series 216(April 2001): 17-22.

Steinitz, Richard. Gyorgy Ligeti: Music of the Imagination. Boston: Northeastern University Press, 2003.

Stolba, K. Marie. The Development of Western Music. IA: Wm. C. Brown Publishers, 1990.

Svard, Lois. “Illusion in Selected Keyboard Works of Gyorgy Ligeti.” D.M.A. paper, Johns Hopkins University, Peabody Conservatory of Music,1991.

Taylor, Stephen Andrew. “The Lamento Motif: Metamorphosis in Ligeti’s Late Style.” D.M.A. diss., Cornell University, 1994.

Toop, Richard. Gyorgy Ligeti. London: Phaidon Press, 1999.

中文與譯文書目
王美珠。《音樂‧文化‧人生》。台北:美樂出版社,2001〔民90〕初版,2012
〔民101〕修訂初版。

洪萬隆。《音樂與文化》。高雄:復文圖書出版社,1996〔民85〕。

孫清吉。《樂學原論》。台北:全音樂譜出版社有限公司,1997〔民86〕。

康謳編。《大陸音樂辭典》。台北:大陸書店,1981〔民70〕。

國立編譯館編。《音樂名詞》。台北:桂冠圖書公司,1994〔民83〕。

曾興魁。《新音樂透析》。台北:天同出版社,1985〔民74〕。

楊沛仁。《音樂史與欣賞》。台北:美樂出版社,2001〔民90〕。

劉志明。《西洋音樂史與風格》。台北:全音樂譜出版社,1988〔民77〕。

黎翁大林,康謳譯。《二十世紀作曲法》。台北:全音樂譜出版社,1990〔民79〕。

潘皇龍。《現代音樂的焦點》。台北:全音樂譜出版社,1999〔民88〕。

潘皇龍。《讓我們來欣賞現代音樂》。台北:全音樂譜出版社,1987〔民76〕。

蕭啟專。《音樂欣賞》。台北:新文京開發出版有限公司,2002〔民91〕。

謝朝鐘。《二十世紀和聲學》。台北:九宮文化事業有限公司出版,1990〔民
79〕。

蘇鈺卿。《LIGETI的音樂創作與理念分析》。台北:師大碩論,2002〔民91〕。

吳景涵。《新葛洛夫音樂與音樂家辭典》中〈音樂心理學〉的發展史與核心議題
研究。台北:北藝碩論,2012〔民101〕。

樂譜
Alkan, Charles-Valentin. 12 Etudes in All the Minor Keys, Op.39. Paris: Costallat & Cie., 1910.

Clementi, Muzio. Carl Tausig ed.. Gradus ad Parnassum, Op.44. New York: G. Schirmer, 1903.

Ligeti,Gyorgy. Etudes pour piano - premier livre -(1985). Mainz: Schott Musik International, 1986.

Ligeti,Gyorgy. Etudes pour piano – deuxieme livre- (1988-94). Mainz: Schott Musik International, 1998.

Ligeti,Gyorgy. Etudes pour piano - troisieme livre, cahier I- (1995-2001). Mainz: Schott Musik International, 2005.

Liszt, Franz. Etudes d''execution transcendante, S.139 No.12 ‘Chasse-neige’. Budapest: Editio Musica / Kassel: Barenreiter, 1970.

Messiaen, Olivier. Quatre etudes de rythme. Paris: Durand, 1950.

Prokofiev, Sergey. Four Etudes, Op.2. Moscow: Muzgiz / Melville: Belwin-Mills, 1955.

Scarlatti, Domenico. Keyboard Sonata in D minor, K.141. Montreal: Les Editions Outremontaises, 2013

Stravinsky, Igor. Four Etudes, Op.7. Moscow: P. Jurgenson / New York: Edwin F. Kalmus, 1933.


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