浅议19世纪民族乐派的源起及钢琴语言的表达--以捷克作曲家斯美塔那为例

On the Origin of National Music School in the 19th Century and the Expression of Piano Language:Take Czech Composer Smetana as an Example

民族乐派是世界音乐诸多风格流派中尤为重要的分支,它体现出前所未有的音乐融合性与多样性。基于互文性的理论方法,从音响文本与非音响文本两个方面以及历时性与共时性两个维度对19世纪的民族乐派进行分析,首先溯源出该乐派产生的社会外部环境以及人们内部对于民族精神共识的文化认同,其次对该乐派进行音乐语言与艺术风格的总体性阐释。通过将其与古典主义、浪漫主义时期的音乐比对异同,明晰民族乐派是在继承二者基础上的进一步发展,音乐关注点从人性迈向民族性,至此发展出一批“为本民族发声”的杰出音乐家。最后以捷克著名作曲家斯美塔那创作的波尔卡舞曲为落脚点进行个案分析,针对该作品中反映出来的民族性元素做具体的钢琴演奏探究并从中梳理出审美价值。

National music school is a particularly important branch of many styles and genres of music in the world, which embodies unprecedented musical integration and diversity. Based on the theoretical method of intertextuality, this paper analyzes the national music school in the 19th century from two aspects: audio text and non-audio text, as well as diachronic and synchronic dimensions. Firstly, it traces the social external environment in which the music school came into being and the cultural identity of people’s internal consensus on the national spirit. Secondly, it makes an overall interpretation of the music language and artistic style of the music school. By comparing its similarities and differences with the music in the classical and romantic periods, it is clear that the national music school is further development on the basis of inheriting the two. The focus of music is shifted from human nature to nationality. So far, a group of outstanding musicians who "speak for their own nations" have developed. Finally, the polka dance music created by the famous Czech composer Smetana is taken as the foothold to make a case analysis, and do a specific piano performance exploration for the national elements reflected in this work, and sort out the aesthetic value.