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.
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【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.
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