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学术讲座 《贝多芬“暴风雨”钢琴奏鸣曲(Op.31/2)中的标题内涵》

  • 作者:音乐孔子beat365官网办公室·中外音乐文化交流与体验基地  
  • 来源:bat365官网登录_首页入口
  • 发布日期:2020-11-26 12:07:00

  学术讲座 《贝多芬“暴风雨”钢琴奏鸣曲(Op.31/2)中的标题内涵》

  Academic Lecture  The Connotation of the Title in Beethoven's Tempest Piano Sonata (Op.31/2)

  主讲人:邹彦

  Lecturer: Zou Yan

(点击图片观看视频)

  

  讲座简介

  巴里·库珀否认贝多芬《d小调钢琴奏鸣曲》(Op.31/2)与莎士比亚的同名戏剧之间的关联;笔者与这一观点不同,认为第一乐章中的一些不同寻常的音乐构思与戏剧中的人物和情节密切相关,比如Allegro乐章主部主题三种不同的速度恰好与普洛斯波罗、爱丽儿和米兰达依次相对应,而且这三个人物在连接部中同时被呈现出来。此外,在慢板乐章和终曲乐章中也有一些不同寻常的音乐构思,这些构思可以用伊曼纽尔·康德的美学著作《论优美感和崇高感》来加以解释。作者因此提出,这部《d小调钢琴奏鸣曲》有可能是贝多芬最早的一部标题作品,并且预示了其晚期创作中蕴含的哲学思想。

  Introduction

  Quite different with Barry Cooper's claim that Beethoven's Piano Sonata in d minor, Op.31/2, was unrelated with William Shakespeare's Tempest, the author thinks there are some unusual musical devices in the Allegro can be closed linked with the characters and plots of the drama with the same name; such as the three different tempi at the beginning of Allegro parallel with Prospero, Ariel, and Miranda respectively, and the three characters appear at the same time in the passage of the exposition. Furthermore, there are also some unusual devices in the Adagio and Finale, which can be interpreted by the Immanuel Kant's aesthetic philosophy, Observations on the Feeling of the Beautiful and Sublime. The author therefore put forwards that the Piano Sonata in d minor is an earlier, probably the earliest programmatic work in Beethoven's oeuvre, and foretells the philosophical thoughts contained in his later works.

  主讲人简介

  邹彦:博士,上海音乐beat365官网音乐学系教授、博士研究生导师,上海师范大学兼职研究生导师、东北师范大学兼职教授。2013-2014年剑桥大学高级访问学者。主要研究领域为音乐分析、音乐表演艺术理论。出版著作《中国音乐学经典文献导读·音乐分析卷》(与钱亦平教授合著)《论古典奏鸣曲式的形成》《阿班·贝尔格音乐作品中的回文结构》《西方音乐史考研笔记》《借题集——贝多芬<钢琴奏鸣曲>研究六题》;在《新华文摘》《音乐艺术》《音乐研究》《bat365官网登录_首页入口学报》《中国音乐学》《文汇报》等刊物发文百余篇,逾200万字。多次赴国内外参加国际学术会议。

  Lecturer

  Zou Yan, Ph.D., professor, doctoral supervisor of the Musicology Department of Shanghai Conservatory of Music, part-time master supervisor of Shanghai Normal University, part-time professor of Northeast Normal University, Senior Visiting Scholar at the University of Cambridge (2013-2014). His main research fields are music analysis and art theory of musical performance. His publication includes "Guide to Classics of Chinese Musicology—Music Analysis Volume" (co-authored with Prof. Qian Yiping), "On the Formation of the Musical Form of Classical Sonata", "The Palindrome Structure in Alban Berg", "The History of Western Music (Notes on Postgraduate Entrance Examination)", "Collection of Six Questions on Beethoven's ‘Piano Sonata’ Research". More than a hundred articles of Zou with a total of more than 2 million words can be found in "Xinhua Digest", "Art of Music", "Music Research", "Journal of Central Conservatory of Music", "Musicology in China", "Wen Hui Daily" and other publications. He participated in many international academic conferences home and abroad.

  

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专题目录

学术讲座 《贝多芬“暴风雨”钢琴奏鸣曲(Op.31/2)中的标题内涵》

作者:音乐孔子beat365官网办公室·中外音乐文化交流与体验基地来源:bat365官网登录_首页入口更新日期:2021-05-13 17:36:30发布日期:2020-11-26 12:07:00本栏目内容由党委宣传部负责维护

  学术讲座 《贝多芬“暴风雨”钢琴奏鸣曲(Op.31/2)中的标题内涵》

  Academic Lecture  The Connotation of the Title in Beethoven's Tempest Piano Sonata (Op.31/2)

  主讲人:邹彦

  Lecturer: Zou Yan

(点击图片观看视频)

  

  讲座简介

  巴里·库珀否认贝多芬《d小调钢琴奏鸣曲》(Op.31/2)与莎士比亚的同名戏剧之间的关联;笔者与这一观点不同,认为第一乐章中的一些不同寻常的音乐构思与戏剧中的人物和情节密切相关,比如Allegro乐章主部主题三种不同的速度恰好与普洛斯波罗、爱丽儿和米兰达依次相对应,而且这三个人物在连接部中同时被呈现出来。此外,在慢板乐章和终曲乐章中也有一些不同寻常的音乐构思,这些构思可以用伊曼纽尔·康德的美学著作《论优美感和崇高感》来加以解释。作者因此提出,这部《d小调钢琴奏鸣曲》有可能是贝多芬最早的一部标题作品,并且预示了其晚期创作中蕴含的哲学思想。

  Introduction

  Quite different with Barry Cooper's claim that Beethoven's Piano Sonata in d minor, Op.31/2, was unrelated with William Shakespeare's Tempest, the author thinks there are some unusual musical devices in the Allegro can be closed linked with the characters and plots of the drama with the same name; such as the three different tempi at the beginning of Allegro parallel with Prospero, Ariel, and Miranda respectively, and the three characters appear at the same time in the passage of the exposition. Furthermore, there are also some unusual devices in the Adagio and Finale, which can be interpreted by the Immanuel Kant's aesthetic philosophy, Observations on the Feeling of the Beautiful and Sublime. The author therefore put forwards that the Piano Sonata in d minor is an earlier, probably the earliest programmatic work in Beethoven's oeuvre, and foretells the philosophical thoughts contained in his later works.

  主讲人简介

  邹彦:博士,上海音乐beat365官网音乐学系教授、博士研究生导师,上海师范大学兼职研究生导师、东北师范大学兼职教授。2013-2014年剑桥大学高级访问学者。主要研究领域为音乐分析、音乐表演艺术理论。出版著作《中国音乐学经典文献导读·音乐分析卷》(与钱亦平教授合著)《论古典奏鸣曲式的形成》《阿班·贝尔格音乐作品中的回文结构》《西方音乐史考研笔记》《借题集——贝多芬<钢琴奏鸣曲>研究六题》;在《新华文摘》《音乐艺术》《音乐研究》《bat365官网登录_首页入口学报》《中国音乐学》《文汇报》等刊物发文百余篇,逾200万字。多次赴国内外参加国际学术会议。

  Lecturer

  Zou Yan, Ph.D., professor, doctoral supervisor of the Musicology Department of Shanghai Conservatory of Music, part-time master supervisor of Shanghai Normal University, part-time professor of Northeast Normal University, Senior Visiting Scholar at the University of Cambridge (2013-2014). His main research fields are music analysis and art theory of musical performance. His publication includes "Guide to Classics of Chinese Musicology—Music Analysis Volume" (co-authored with Prof. Qian Yiping), "On the Formation of the Musical Form of Classical Sonata", "The Palindrome Structure in Alban Berg", "The History of Western Music (Notes on Postgraduate Entrance Examination)", "Collection of Six Questions on Beethoven's ‘Piano Sonata’ Research". More than a hundred articles of Zou with a total of more than 2 million words can be found in "Xinhua Digest", "Art of Music", "Music Research", "Journal of Central Conservatory of Music", "Musicology in China", "Wen Hui Daily" and other publications. He participated in many international academic conferences home and abroad.

  

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