頁籤選單縮合
題名 | 探究巴伯的《夜曲》作品33=A Study on Barber's Nocturne, Opus 33 |
---|---|
作者 | 王儷娟; Wang, Li-chuan; |
期刊 | 藝術研究期刊 |
出版日期 | 20070100 |
卷期 | 2 2007.01[民96.01] |
頁次 | 頁37-64 |
分類號 | 910.9952 |
語文 | chi |
關鍵詞 | 巴伯; 夜曲; 費爾德; 蕭邦; Barber; Nocturne; Field; Chopin; |
中文摘要 | 以一首《弦樂慢板》聞名於世的美國音樂家山謬爾‧巴伯(Samuel Barber, 1910-1981),身處二十世紀多樣式藝術創作的年代裡,當作曲 家們各自發揮天賦以複雜的技法譜寫不諧和音響之際,他卻不特意渲染標榜新潮流行的現代主義,以傳統的曲式為藍本,加入浪漫的抒情語法 ,樹立他個人富於旋律的音樂特質,也因其音樂所展現現代技法與抒情旋律的水乳交融,贏得了後世對這位新浪漫主義作曲家無比的敬重。 這首於1959年創作的鋼琴小品《夜曲》(Nocturne, Op. 33),巴伯雖然附以「向約翰‧費爾德致敬」的副題,以讚頌費爾德首創夜曲形式 之功,然而其所展現的曲風實質上是更偏向於蕭邦所寫的夜曲型態。本文將探析巴伯在此作品中,如何承繼傳統結構並融入現代技法,以獨樹 此首二十世紀夜曲的個人風格。 |
英文摘要 | Samuel Barber (1910-1981) was an accomplished American composer of classical music, best known for his Adagio for Strings. In an era characterized by its experimentalism on various musical forms, which many of his contemporary composers fashioned, Barber demonstrated a unique preference for the traditional form built on romantic structure and emotional sensibility. The distinguishing talent of seamlessly intergrading the twentieth century styles into his lyrical vision, earned this neo-romantic composer more respect after his life. Despite subtitling his short work Nocturne Op. 33 (1959) "Homage to John Field", the work contains elements that are strikingly reminiscent of Frederic Chopin's nocturnes. This article analyzes the structure and musical composition of Barber's Nocturne to reveal his unique, masterful incorporation of the then-modern musical techniques into rich traditional lyrical idioms. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。