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博碩士論文 etd-0718100-143354 詳細資訊
Title page for etd-0718100-143354
論文名稱
Title
十九世紀音樂會練習曲之探討
A Study of Nineteenth Century Concert Etude.
系所名稱
Department
畢業學年期
Year, semester
語文別
Language
學位類別
Degree
頁數
Number of pages
101
研究生
Author
指導教授
Advisor
召集委員
Convenor
口試委員
Advisory Committee
口試日期
Date of Exam
2000-07-13
繳交日期
Date of Submission
2000-07-18
關鍵字
Keywords
蕭邦、李斯特、舒曼、帕格尼尼、音樂會練習曲、炫技演奏
Schumann, Liszt, Chopin, virtuoso, Paganini, concert etude
統計
Statistics
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The thesis/dissertation has been browsed 5702 times, has been downloaded 8995 times.
中文摘要
十九世紀,隨著公開音樂會的盛行,許多作曲家與演出者開始致力於炫技的發展,希望藉此吸引更多觀眾的聆賞。這種風潮,在帕格尼尼的帶動下更達鼎盛,也促使鋼琴家開始致力於拓展鍵盤上的技巧,而紛紛學習各種高難度的彈奏方式,以期在音樂會中大放異彩。在這種環境的需求下,鋼琴練習曲被大量的印行出版。許多音樂家更在這些練習曲中,注入了豐富的內涵,使練習曲不再只是機械式或是為取悅大眾所寫的炫技式練習曲,而是真正可以在音樂會上展露音樂性的音樂會練習曲。
本研究主要為十九世紀音樂會練習曲之探討。全文除了序論及結論外,共分為三個章節。第一章為背景之探討,包含十九世紀的音樂環境、鋼琴製造技術的進步及音樂會練習曲的發展情形等。第二章則將著名作曲家蕭邦、舒曼、李斯特的音樂會練習曲作技巧及特性上之整理。第三章以國家作區分,分為德國、法國及俄國、美國、波蘭等,將其中較有名作曲家之音樂會練習曲作探究,以期增加對音樂會練習曲曲目之認識。
十九世紀所發展出來的音樂會練習曲,已不再是單純的手指練習曲,而是具有音樂內涵、發人省思的音樂作品。在今日,這些音樂會練習曲不但是教學上的重要工具,更是演奏會上的重要曲目之一。
Abstract
During the Nineteenth century, with the population of the public concert, many performers have started devoting themselves to the development of technique, expecting that could appeal to more audience. Under the influence of Paganini, virtuoso not only gets to the top, but also let the pianists devote themselves to develop technique on the keyboard, expecting that they can win brilliant results in the concert. Under such situation, studies have been published in a great amount. Gradually, composers and pianists try not to only make the music with virtuositic spirit but also with lyricalism within them.
In addition to the introductions and conclusions, the research could be divided into three chapters. The first chapter, discussion of the musical background, includes the music environment during the nineteenth century, the mechanism improvement of the pianos, and the development of the concert etude.
Chapter two is the analyses of the concert etude technique and characters. Famous composers, such as Chopin, Schumann and Liszt, their concert etudes will be discussed. Chapter three investigates the concert etudes of the other composers in terms of their nationalities-Germany, France, Russian, American, and Poland.
Concert etudes that developed in the nineteenth century would be no longer the simple etudes for finger exercise, but the masterpieces with the inner intension. To pianists in late twenty century, these concert etudes should be not only methods for teaching but also essential in concert programs.

目次 Table of Contents
序論………………………………………………………………………. 1
第一章 十九世紀音樂背景探討…………………………………….. 7
第一節 十九世紀音樂環境………………………………. 7
第二節 練習曲的起源……………………………………. 11
第三節 音樂會練習曲的創作發展……………………… 18

第二章 音樂會練習曲之作品探討………………………………… 23
第一節 蕭邦鋼琴練習曲…………………………………. 23
第二節 舒曼鋼琴練習曲…………………………………. 37
第三節 李斯特鋼琴練習曲……………………………. 54

第三章 十九世紀其他作曲家的音樂會練習曲……………………. 67
第一節 德國……………………………………………….. 68
第二節 法國……………………………………………….. 78
第三節 其他國家……………………………………….. 88

結論………………………………………………………………………. 94
參考書目………………………………………………………………… 98

參考文獻 References
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