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題 名 | 從班傑明.李斯的新古典主義解析他的《幻想曲》=Benjamin Lees' “Fantasia” as Interpreted through the Neo-classicism |
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作 者 | 王儷娟; | 書刊名 | 輔仁學誌. 人文藝術之部 |
卷 期 | 33 民95.06 |
頁 次 | 頁105-150 |
分類號 | 912.36 |
關鍵詞 | 班傑明.李斯; 新古典主義; 幻想曲; Benjamin Lees; Neo-classicism; Fantasia; |
語 文 | 中文(Chinese) |
中文摘要 | 引領時代並不一定要背離傳統,一位有創作力的音樂家能將前人豐富的音樂技法與現代多元化的思維融會貫通,塑造出個人獨特的風格。班傑明.李斯就是這樣的一位美國當代作曲家,當其他作曲家們竭力求新求變之時,他反而回到古典主義的領域裡創作,樹立個人風格。不問時代趨勢的走向或音樂上利益的得失,堅持依自我理念創作音樂是他不變的目標。本文由李斯個人及他的創作介紹開始,進而談論李斯創作理念與新古典主義的關連性。繼之就幻想曲曲式經過時代變遷而成為獨立性質的樂曲形式做介紹,最後則以探討李斯的《幻想曲》為主。針對作品的創作結構和手法,及受新古典主義的影響分別陳述。期望藉由本文的研究,能夠協助對班傑明.李斯的音樂有興趣的鋼琴同好們,對他的創作風格及這首《幻想曲》有更進一步的認識。 |
英文摘要 | To embrace the modern does not always mean deserting the classical. A novel musical realm could be achieved through digestion and re-invention of the fruitful techniques of classical masters with a modern multiplex thinking. Benjamin Lees, a creative contemporary American composer, elects to return to the musical principles of the classical period and unto which the builds his own genre, while others exploit the differences for artistic innovation. This article begins with his biography and a brief introduction of Lee's music, followed by discussions of the neo-classicism that connects Lees' work. The style of his “Fantasia” is interpreted by tracing the hallmarks from variations on the theme to his unique music composition throughout the years. Through an in-depth analysis of musical structure of Lees' “Fantasia” and the influence of the neo-classicism, the author hopes to provide some assistance to piano music lovers to gain a better understanding of Lees' music style and his “Fantasia” for piano. |
本系統中英文摘要資訊取自各篇刊載內容。