浪漫本質──貝多芬作品101、蕭邦作品58及布拉姆斯作品118之風格解析與演奏詮釋【英文版】
作者/演奏者:王真儀 著
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浪漫時期的音樂發展歷經許多風格上的轉變,例如:音樂想法的呈現、器樂寫作的語法、曲式架構的發展、調性和聲的語彙等等。同樣地,鋼琴作品的寫作在這時期也發展得輝煌燦爛。此時鋼琴樂器的發展已與現今的鋼琴結構相差不遠,而樂器的成熟演變也使浪漫時期的鋼琴寫作語法較古典時期的更加豐富以及絢爛,樂曲型態也更為多變。 

為了印證浪漫時期作曲家們的音樂成就,作者選擇三位作曲家的共三首作品作為此書的研究對象:貝多芬鋼琴奏鳴曲作品101,蕭邦鋼琴奏鳴曲作品58,以及布拉姆斯鋼琴曲集作品118。希望藉由對此三首作品的剖析與詮釋,得以了解這些樂曲獨有的樂詩本質,進而將所獲心得延伸至浪漫時期普遍的音樂本質,以期增加演奏者的詮釋角度。 

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The Romantic era witnesses many changes in the stylistic aspects, e.g., the manifestation of ideas, the idioms of instrumental writings, the structure of works, and the language of tonal harmonies. Similarly, the writing of the piano works flourishes tremendously during this period. By then the piano as an instrument has developed to a stage in which its capacity is more or less compatible to the modern shape. Thanks to this latest instrumental development, the texture of the Romantic writings is richer and the idioms are more adventurous, compared with those of the Classical period. 

To celebrate the wonderful accomplishments of the Romantic composers, three works are chosen as the subject of this book: the piano sonata op. 101 by Beethoven, the piano sonata op. 58 by Chopin, and the piano pieces op. 118 by Brahms. The main premise is to explicate through analysis and interpretation the poetic essence unique to the works, and subsequently to exemplify how these essences should influence our interpretations.

 
 

目 錄

[Part I The Spirit] 

  • Chapter One Points of Departure
  • Chapter Two The Essence of the Romanticism
  • Chapter Three The Poetic Essence: The Manifestation
  • Chapter Four Towards an Interpretive Theory 

    [Part II The Analysis] 

  • Chapter Five Beethoven and Piano Sonata Op. 101
  • Chapter Six Chopin and Piano Sonata Op. 58
  • Chapter Seven Brahms and Piano Pieces Op. 118 

    [Part III The Performance] 

  • Chapter Eight Performance Issues on Beethoven's Op. 101
  • Chapter Nine Performance Issues on Chopin's Op. 58
  • Chapter Ten Performance Issues on Brahms's Op. 118
  • Chapter Eleven Afterthoughts 

    [Bibliography]
  •  
     

    著者■王真儀 博士 
    Dr. WANG JEN-YI 

  • 1993 倫敦皇家音樂學院 音樂學士
  • 1995 倫敦皇家音樂學院 音樂碩士
  • 2000 紐約市立大學 音樂藝術博士 

    1986 第一屆中華蕭邦少年鋼琴大賽冠軍 
    1990 倫敦皇家音樂學院獎學金 
    1991 鋼琴榮譽獎、普羅科菲耶夫演奏獎、蕭邦演奏獎〔皇家音樂學院〕 
    1992 皇家音樂學院教育文憑證書 
       伯明罕國際鋼琴比賽冠軍 
       貝多芬演奏獎、法國作品演奏獎〔皇家音樂學院〕 
    1993 皇家音樂學院演奏文憑證書 
       倫敦 Anthony Saltmarsh 獎學金 
    1994 廿世紀作品演奏獎、廿世紀英國作品演奏獎〔皇家音樂學院〕 
       皇家音樂學院鋼琴大賽第三名 
    1994 皇家音樂學院樂團,協奏曲演出〔皇家音樂學院〕 
       伯明罕首場獨奏會〔Birmingham and Midland Institute〕 
    1995 最佳協奏曲演奏獎、舒伯特演奏獎〔皇家音樂學院〕 
       倫敦 Ian Fleming 基金會獎學金 
    1995 倫敦首場獨奏會〔聖馬丁學會〕 
    1995 Personality and Communication in Musical Performance ──碩士論文〔皇家音樂學院〕 
    1999 博士班畢業獨奏會〔紐約市立大學 Proshansky 音樂廳〕 
    2000 "The Enchanted Garden" by Richard Danielpour: Issues of Analysis and Performance 
       ──博士論文〔紐約市立大學〕
  •  
     


    【Abstract】 

    Romantic In Essence: 
    Performance Issues with Stylistic and Interpretive Concerns on Beethoven's Op.101, Chopin's Op.58 and Brahms's Op.118
     

    The Romantic era witnesses many changes in the stylistic aspects, e.g., the manifestation of ideas, the idioms of instrumental writings, the structure of works, and the language of tonal harmonies. Similarly, the writing of the piano works flourishes tremendously during this period. By then the piano as an instrument has developed to a stage in which its capacity is more or less compatible to the modern shape. Thanks to this latest instrumental development, the texture of the Romantic writings is richer and the idioms are more adventurous, compared with those of the Classical period. 

    To celebrate the wonderful accomplishments of the Romantic composers, three works are chosen as the subject of this book: the piano sonata op. 101 by Beethoven, the piano sonata op. 58 by Chopin, and the piano pieces op. 118 by Brahms. The main premise is to explicate through analysis and interpretation the poetic essence unique to the works, and subsequently to exemplify how these essences should influence our interpretations. 

    There are eleven chapters and are broadly divided into three parts, with each part representing one major aspect of the discussion. Part I includes the first four chapters, which is the theoretical foundation of the book. Chapter One introduces the motivation and the consideration of the book, the discourse of its content, and its analytical methodology. Chapter Two serves as an introduction of the definition and the essential characteristics of the term Romanticism; the discussion is guided by its chronological, performing and aesthetic aspects. 

    Examinations on the stylistic genres and the poetic essence of the works follow in Chapter Three, with the aesthetic nature of subjectivity and self-challenge as points of departure for the stylistic analysis. In the course of analysis, one comes to realize that all three composers exhibit ways of compositional presentation different from those in the other works. The interpretive theory in general is the concern in Chapter Four. The work of the German scholar, Theodor Adorno, is taken as a theoretical basis, and the chapter discusses the nature of interpretation, its objects and the parameters that should be considered during the interpretive process. Five basic parameters are identified (essence/character, form, tempo, dynamics and articulation), in addition to their corresponding sub-parameters (tone colour, tonal plan, thematic material, tempo modification, dynamic shading and phrasing). 

    Part II contains Chapters Five to Seven and deals with analytical interpretations. Each chapter follows a similar outline of discussion: the life of the composer, the general background of the work, and the analysis of the work. The analysis is guided by the following topics: form and tonal plan, thematic material, phrase structure, and other motivic feature. 

    Chapters Eight to Eleven form Part III, and chapters Eight to Ten deal with the performing interpretations. The discussion is guided by the following topics: the poetic essence and tempo, phrasing and tempo modification, dynamic shading, and other performing concern. Chapter Eleven offers a synoptic and concluding narration on the foregoing concepts and the analytical contents.

     
     

    【中文摘要】 

    浪 漫 本 質 ── 
    貝多芬作品101、蕭邦作品58及布拉姆斯作品118之風格解析與演奏詮釋
     

    浪漫時期的音樂發展歷經許多風格上的轉變,例如:音樂想法的呈現、器樂寫作的語法、曲式架構的發展、調性和聲的語彙等等。同樣地,鋼琴作品的寫作在這時期也發展得輝煌燦爛。此時鋼琴樂器的發展已與現今的鋼琴結構相差不遠,而樂器的成熟演變也使浪漫時期的鋼琴寫作語法較古典時期的更加豐富以及絢爛,樂曲型態也更為多變。 

    為了印證浪漫時期作曲家們的音樂成就,作者選擇三位作曲家的共三首作品作為此書的研究對象:貝多芬鋼琴奏鳴曲作品101,蕭邦鋼琴奏鳴曲作品58,以及布拉姆斯鋼琴曲集作品118。希望藉由對此三首作品的剖析與詮釋,得以了解這些樂曲獨有的樂詩本質,進而將所獲心得延伸至浪漫時期普遍的音樂本質,以期增加演奏者的詮釋角度。 

    本書共有十一章,分成三部分,每部分各有不同的論述重心。【第一部分】包含第一章至第四章,為此書的學理重心。第一章「緒論」,簡述本書的動機起源與理念、內容形式的概述,以及詮釋分析的主要方法。第二章「浪漫主義的本質」,討論浪漫主義的定義與特質,就時空背景、演奏表現以及音樂美學三方面做基本的闡述。 

    第三章「樂詩本質的呈現」,以浪漫主義中,主觀主義與自我挑戰的美學特質作為風格分析的出發點,對三首作品做風格類型的初步解析。在分析過程中,可清楚了解到三位作曲家分別在三首樂曲中有著和以往不同的音樂呈現與寫作手法。第四章「有關詮釋理論」,以德國學者阿多諾的著作為出發點,探討詮釋的本質、對象,以及詮釋過程中應考慮的基本參數。其中共列舉五種基本參數:特質/特性、曲式、速度、強弱、觸鍵法,以及對應的次參數:音色、調性架構、旋律動機素材、彈性速度、音量層次、樂句修飾。 

    第二部分】包含第五章至第七章,為三首作品的內容分析。討論要點如下:作曲家生平簡述、樂曲創作背景與整體架構概析、各樂章內容分析。內容分析的闡述重點如下:曲式與調性架構、旋律動機素材、樂句結構、其他樂曲特徵。 

    第三部分】包含第八章至第十一章。第八章至第十章為三首作品的演奏詮釋,討論要點如下:樂詩本質與速度、樂句與彈性速度、強弱層次、其他演奏考量。第十一章為結語,對於前述之理念與分析內容作整體性的心得與結論。 
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