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題名 | 荀貝格作品第十一號第三首鋼琴曲之研究=Study on A. Schoenberg's Three Pieces for Piano: Op. 11, No. 3 |
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作者 | 駱淑嫈; | 書刊名 | 國立臺北教育大學學報. 人文藝術類 |
卷期 | 19:2 民95.09 |
頁次 | 頁69-94 |
分類號 | 917.1 |
關鍵詞 | 荀貝格; 十二個半音; 無調; 調性; 鋼琴獨奏曲; Arnold Schoenberg; Twelve semitone; Atonality; Tonality; Piano solo; |
語文 | 中文(Chinese) |
中文摘要 | 荀貝格無疑是二十世紀西方最重要且亦最富爭議性的作曲家之一。在其創作生涯中,自一九○八年起至第一次世界大戰止,是由調性轉入無調的關鍵時期;本文即以其作品第十一號之第三首鋼琴曲為分析對象。就該作品的語法而言,已經完全擺脫調性之束縛,而進入無調音樂的領域。本文將詳細析論該曲之曲式、旋律、和聲、力度、音域與拍號等各個面向。透過此曲之了解,實有助於進一步窺究荀氏之音樂實驗及創作的演變歷程。 |
英文摘要 | Arnold Schoenberg is undoubtedly the most important and also controversial composer in western music. In his musical career, from 1908 to the First World War, his music has changed from tonality to atonality. The main purpose of this article is to provide an analysis of his Three Pieces for Piano, Op 11, No. 3. This piece broke away completely from the bind of tonality, and has entered into the sphere of atonality. All the characters of this piece, the form, the melody, the harmony, the dynamics, the range and the time signature, etc., will be analyzed. The comprehension of this piece will help us to study the course of Schoenberg’s musical evolution and his musical experiment in the field of atonality. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。