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從《水中倒影》看德彪西鋼琴音樂的演奏風(fēng)格
畢業(yè)論文
摘 要
德彪西是印象主義的創(chuàng)始人和杰出代表。他的創(chuàng)作不是用音符來完成,而是通過他對聲音和色彩的最特殊的感悟力,用他獨具特色的創(chuàng)作技巧,用最引人入勝的音響構(gòu)筑而成。德彪西的鋼琴創(chuàng)作作品足以幫我們了解這1偉大作曲家。筆者通過對德彪西《水中倒影》的曲式、調(diào)式調(diào)性、聲音概念的變化的分析，探討了德彪西其和聲風(fēng)格和演奏風(fēng)格，并討論了演奏中的難點及相應(yīng)的解決方法。
印象主義音樂對手指技巧、踏板技術(shù)等都提出了新的要求，也對于聽覺感受、觀念意識、心靈體驗都進(jìn)行了全方位的更新，使人進(jìn)入1種全新的理念。演奏并把握好印象主義時期德彪西的作品，必將達(dá)到1個新的境界。
關(guān)鍵詞：印象主義；曲式；調(diào)式調(diào)性；聲音概念的變化；作品演奏
ABSTRACT
A remarkable representative and founder of impressionism, Debussy, whose works were accomplished not by music tones but by his special understanding about music and color, by his unique, on compared skills and tones, building together. Debussys piano creation work enough enable us to fully recognize this great composer. This author mainly talks about the composition style of<In Water Inverted Image > of Debussy. emphasizing his stone personality, analyzing the variability of his voice conception. We will exam the sound style and performance style of Debussy. Finally we will discuss the difficulties when we perform his works and also give some suggestions.
Impression of fingers, music skills, treadle technology have presented new demands, but also for hearing feelings, ideas, consciousness, spiritual experience is a comprehensive update of entering a completely new concept. Recital impression, and a good grasp of the period Debiaoxi works will reach a new level.
Key words: the impressionism; composition style; style and personality of tone;
variability of voice conception; the work performance
目 錄
摘要 I
ABSTRACT II
緒論 1
1、印象主義時期德彪西的音樂 1
2、《水中倒影》印象主義的藝術(shù)特征 2
1. 曲式結(jié)構(gòu) 3
2. 調(diào)式調(diào)性 3
3. 聲音概念上的變化 4
(1) 和聲 4
(2) 復(fù)雜的層面 6
(3) 力度 7
(4) 觸鍵 7
(5) 踏板 8
3、總體概括德彪西鋼琴音樂的演奏風(fēng)格及對后世音樂的影響 8
1. 演奏風(fēng)格 8
2. 對后世音樂的影響 10
結(jié)論 11
參考文獻(xiàn) 12
致謝 13
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