Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/108770
Title: 布拉姆斯晚期鋼琴小品《三首間奏曲,作品一一七》與《鋼琴曲集,作品一一九》之樂曲分析與詮釋
The Interpretation and Analyze of Johannes Brahms' Drei Intermezzi for Piano, Op. 117 and Klavierstücke, Op. 119
Authors: 蔡中文
林公欽
黃郁華
HUANG YU HUA
Keywords: 布拉姆斯
間奏曲
Brahms
Intermezzo
Issue Date: 2012
Abstract: 約翰.布拉姆斯(Johannes Brahms, 1833-1897)受到兩位恩師奧圖.柯賽爾 (Otto Friedrich Willibald Cossel, 1813-1865)與愛德華.馬克森 (Eduard Marxsen, 1806-1887)的影響之下,承襲了巴洛克與古典時期音樂特質,以嚴謹的形式與結構作為根基,在浪漫樂派當道的十九世紀,布拉姆斯的音樂形成獨樹一格的風貌。布拉姆斯的鋼琴獨奏作品可劃分為三個時期:年輕時以奏鳴曲為主,使用厚重的音響與龐大的結構展現交響樂般的氣勢;中壯年期將重心移至變奏曲,藉由多段落的特性與樣貌發揮各種艱難複雜的鋼琴技巧;晚年時則將歷年的創作技法濃縮,以簡潔的性格小品(Character Piece)呈現沉穩與內斂的風格,表達真摯且深刻的情感。 布拉姆斯晚期最後的四組鋼琴小品包含了《幻想曲,作品一一六》(Fantasien, Op.116, 1892)、《三首間奏曲,作品一一七》(Drei Intermezzi for Piano, Op. 117, 1892)、《鋼琴曲集,作品一一八》( Klavierstücke, Op.118, 1893)與《鋼琴曲集,作品一一九》(Klavierstücke, Op. 119,1893 );此篇研究報告以作品一一七與作品一一九為主軸,從作曲家生平背景探討其音樂風格的養成、三時期不同的鋼琴獨奏類型創作,以及從作品一一七與作品一一九中歸納出布拉姆斯常見的樂曲中和聲轉調方式、節奏類型以及旋律的織度與層次等,詮釋的部分,為學生參考以上之分析與探討,以及實際彈奏後的音樂表現。 作品一一七與作品一一九僅以間奏曲 (Intermezzo)與狂想曲 (Rhapsody)兩種類型組成,在這兩組作品七首樂曲中,間奏曲佔有六首之多,除了樂曲分析之外,將對各首間奏曲之特質與關聯性深入探討,並就樂曲結構、調性編排、轉調方式等方面切入研究。 此篇研究報告共分為五個章節:第一章為緒論,包含研究動機、研究範圍與研究方法;第二章為樂曲背景探討,分為布拉姆斯的音樂風格養成、鋼琴作品分期以及和聲、節奏、旋律的使用;第三章是作品一一七之樂曲分析與詮釋,第四章是作品一一九之樂曲分析與詮釋,第五章為結語,針對作品一一七與作品一一九之各項分析與詮釋歸納總結。
Under the influence of two respected teachers, Otto Friedrich Willibald Cossel (1813-1865) and Eduard Marxsen (1806-1887), Johannes Brahms’s (1833-1897) works are firmly rooted in a sense of form and order by Baroque and Classical’s compositional techniques. Therefore, at the time of Romantic period, Brahms’s music forms a unique style besides the mainstream of 19th century. Brahms' piano solo pieces can be divided into three periods. In his early years, he focused on composing Sonatas using heavy sound and a huge structure to show the symphony-like moment. Brahms’ shifted his focus to variations to embrace multi-paragraph’s features and aspects through revealing various difficult and complex piano skills. Finally, the enrichment of old age leads to condensing many creative techniques, whereas a calm and restrained style of simple character piece is mainly used to express sincere and inner emotion. Brahms last four sets of piano pieces in his later years include” Fantasien, Op.116"(1892), " The Drei Intermezzi for Piano, Op 117"(1892), " Klavierstücke, Op.118" (1893)and" Klavierstücke, Op. 119"(1893). This research report is focused on Op. 117 and Op. 119 by looking at the biography of the composer, Brahms, and the developments of piano solos in three different periods to bring to a conclusion of the ways of Brahms's common music modulation, the rhythm, the gradation of melody from his work. Then the analysis and the discussion with actual performing these two music pieces together are building elements of annotation part. Op. 117 and Op. 119 are made up by only two type compositions, Intermezzo and Rhapsody. In these two opuses which contain seven pieces each, the Intermezzo hold six. Besides the analysis on music, the characteristics and the relationship between each Intermezzo would be closely discussed trough including both the aspects of music structure, tonal arrangement, modulation way. This research paper can be divided into five chapters. Chapter one is the introduction, contains the research motives, the range of study and the research techniques. Then the second chapter is discussion of music background as Brahms's music style development, the piano work period and the harmony, the rhythm, the melody used. Chapter three and chapter four are Op. 117 and Op. 119 music analyses and annotation. In the final chapter, chapter five brings a conclusion from previous examination.
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Other Identifiers: GN0698900288
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