普羅科菲夫《f小調第一號鋼琴奏鳴曲,作品1》與《降B大調第七號鋼琴奏鳴曲,作品83》之音樂分析與詮釋探討

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2021

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普羅科菲夫(Serge Prokofiev, 1891-1953) 非常重視鋼琴作品的創作,也是非常特別的一位二十世紀音樂家。尤其,他獨樹一格地將注意力集中於鋼琴奏鳴曲的創作,更是二十世紀作曲家中所罕見者。他的鋼琴曲種涵蓋廣泛,而他的九首鋼琴奏鳴曲更為鋼琴作品中的經典曲目,充分地呈現出他作品風格的特質及前後期風格的轉變。普羅科菲夫所自述的五種創作風格,包含古典風格(classicism)、抒情風格(lyric element)、怪異諷刺風格(an element of either grotesqueness, jesting, or mockery)、觸技風格(toccata or motor element)與新穎風格(innovation),皆充分地運用於他的鋼琴奏鳴曲之中。《第一號鋼琴奏鳴曲》為普氏學生時期的作品,是九首奏鳴曲中少數的單樂章的作品,音樂風格承襲後期浪漫風格,旋律抒情線條綿長,大量使用四音動機;《第七號鋼琴奏鳴曲》有三個樂章,似乎在表現出戰爭時的痛苦心境,三個樂章有著不同的性格,情緒張力及對比強大。此詮釋報告共分為六章,第一章為緒論,包含研究動機目的及研究方法與範圍;第二章為普羅科菲夫生平,概略介紹他的創作風格及九首鋼琴奏鳴曲;第三及第四章先後介紹《第一號鋼琴奏鳴曲》與《第七號鋼琴奏鳴曲》的創作背景、曲式分析、音樂特質與演奏詮釋;第五章為兩首樂曲的比較,以旋律、調性、節奏、織度方面著手進行探討;第六章為結論。期許此詮釋報告對想了解普羅科菲夫早期與晚期風格的讀者有所幫助。
Serge Prokofiev (1891-1953) was a composer in the twentieth century who gave great importance to the piano works. In particular, he uniquely focused his attention on the piano sonatas, which was very rare among the composers in the twentieth century. His piano works coverd a wide range of genre. Among them, his nine piano sonatas are highly representative in the development of Prokofiev’s musical style. According to Prokofiev’s own statement, his compositional writing was based on five principles of classicism, lyric elements, grotesqueness, toccata or motor elements and harmonic innovation.The thesis investigates the stylistic features of the first and the seventh piano sonata of Prokofiev, and is divided into six chapters. ‘’Piano Sonata No. 1’’ is one of the few single-movement sonatas of the nine sonatas. Written when Prokofiev was a student, the music style is more related to the late Romanticism. ‘’Piano Sonata No. 7’’includes three movements, covering different stylistic characters. The first chapter is an introduction, including the motivation and reserch method of this thesis. The second chapter is a brief biography of Prokofiev, summarizing his musical styles, and a short discussion on his nine piano sonatas. The third and fourth chapters contain the background, the analysis of the compositions, the musical characteristics of the two sonatas, and the personal ways of interpreting Prokofiev’s Sonata No. 1 and No. 7. The fifth chapter is the comparison of the two pieces in terms of melody, tone color, rhythm and texture. The sixth chapter is the conclusion of this thesis.Hope this thesis is helpful to whoever is interested in understanding Prokofiev’s sonatas as well as the composer’s early and late style.

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普羅科菲夫, 鋼琴奏鳴曲, 俄國作曲家, Prokofiev, Piano Sonata, Russian Composer

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