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題名 | 舒伯特之「米利安的勝利之歌」研究=A Study in Schubert's Mirjams Siegesgesang |
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作 者 | 張麗昀; | 書刊名 | 嘉義技術學院學報 |
卷期 | 56 1998.02[民87.02] |
頁次 | 頁121-143 |
分類號 | 913.3 |
關鍵詞 | 音樂; 合唱音樂; 舒伯特; Music; Choral music; Schubert; |
語文 | 中文(Chinese) |
中文摘要 | 《米利安的勝利之歌》是舒伯特生命中最後一年所寫的一首合唱曲。這首精緻 但音域、難易適中的合唱曲屬敘事性質,音樂中充份傳達詩詞深層的意境及感情,表現出 十九世紀德國浪漫主義的精神。本文除研究其創作背景,並針對此曲之內容、形式、風格 、作曲手法作深入探討。風格上除顯示出受韓德爾影響,也兼具「回聲」、「田園」、「 朗誦」、「法國序曲」、「哀歌」等多樣風格。文中歸納出其處理調性、和聲的特點,分 析各種 「象徵」及「音畫」的手法,瞭解作曲家如何以音樂為文字做最深刻的詮釋。文 中並對此曲與貝多芬之《致遙遠的愛人》在連篇形式上之差異有所討論。 |
英文摘要 | Mirjams Siegcsgesang was a likable choral work. It was the final piece of Franz P. Schubert, who died 1828. This piece remained on modest levels and all ranges are moderate, thus the parts were easy to learn. This paper studied the background stories behind the composing procedure. It also included the compositional techniques that Schubert utilized. This semi-religious choral work was found to have a square-cut classics and strong eighteenth-century fashion. Undoubtedly, this idiom was Handellan, though echo, pastorale, French overture, accompagnato style and lament etc. were also contributed to parts of it. The discussion of this paper also extended to the detailed analysis on the harmonic structure, the handling of tonality and the excellent text-Illustration through spnbolism and word- painting. This choral work was organized with a cyclic form. The deviation on the cyclic form of this work from Beethoven's An die ferne Gellebte was also discussed in this paper. |
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