摘要
文章把贝多芬《“热情”奏鸣曲》第一乐章呈示部主部主题乐队构思的分析作为切入点 ,得出三个具有覆盖特点的“矛盾循环圈”及其等式 ,并以此为基础 ,阐述了演奏中音色联想在整首作品中的发展方式和过程 。
Taken the first movement of Beethoven's Appassionata as an example, the article analyze the orchestra-design of the main subject in the first part from the exposition, the writer got three contrary-cycles with the features of overlay, and based on the this point, the paper discussed the imagination of tone-color during the performance, illustrate the significance imagination in representing the music.
出处
《黄钟(武汉音乐学院学报)》
北大核心
2001年第4期97-103,共7页
Huangzhong:Journal of Wuhan Conservatory of Music
关键词
贝多芬
“热情”奏鸣曲
演奏
音色联想
Ludwig von Beethoven
piano
Appassionata Sonata
performance
tone-color
imagination