十九世纪法国女作曲家、钢琴家夏米娜德(Cécile Louise Stéphanie Chaminade)是音乐史上屈指可数的优秀女性作曲家之一,她创作并演奏的钢琴作品以独有的女性主义视角和艺术展现手法,散发着经久的魅力,对后世有着不小的影响。...十九世纪法国女作曲家、钢琴家夏米娜德(Cécile Louise Stéphanie Chaminade)是音乐史上屈指可数的优秀女性作曲家之一,她创作并演奏的钢琴作品以独有的女性主义视角和艺术展现手法,散发着经久的魅力,对后世有着不小的影响。在创作领域中,她的作品体裁丰富,数量繁多,以沙龙性质的钢琴曲为主,具有明显的女性特征风格。《小夜曲》就是其中较少被演奏的一首,这首作品虽不是其代表作,但其中的旋律及和声特点均延续了其一贯的浪漫主义风格特点,更具有女性独有的温柔与细腻,旋律优美,效果突出,细致优雅,娓娓动听。本文主要从作品创作手法及如何在演奏上体现作品的艺术形象加以探索。展开更多
Wolfgang Amadeus Mozart, one of the greatest musicians in the world, enchants people across eras with his fabulous music. Peter Shaffer, in Amadeus （2001）, depicts the mysterious life and death of this musician in a...Wolfgang Amadeus Mozart, one of the greatest musicians in the world, enchants people across eras with his fabulous music. Peter Shaffer, in Amadeus （2001）, depicts the mysterious life and death of this musician in a very different way. Instead of presenting an intelligent and refined artist, Shaffer, from the perspective of his rival, Antonio Salieri, gives us a ＂foul-mouthed, immature jackanapes＂ that shocks his audiences in the theatre. Lady Thatcher＇s displeased response after seeing the play tells the gap between Shaffer＇s Mozart and the Mozart image in most public＇s mind. However, the image of the vulgar Mozart, though a contrast to his music, lights up the uniqueness of his music at the age of Enlightenment. The paper, aims to analyze the difference in Mozart＇s music and the different Mozart character Shaffer presents in his play by drawing on Ren6 Girard＇s notion of collective violence and scapegoat mechanism. Also, the author intends to examine the playwright＇s intention and exegesis as he composes this mysterious musician in such a different way展开更多
文摘十九世纪法国女作曲家、钢琴家夏米娜德(Cécile Louise Stéphanie Chaminade)是音乐史上屈指可数的优秀女性作曲家之一,她创作并演奏的钢琴作品以独有的女性主义视角和艺术展现手法,散发着经久的魅力,对后世有着不小的影响。在创作领域中,她的作品体裁丰富,数量繁多,以沙龙性质的钢琴曲为主,具有明显的女性特征风格。《小夜曲》就是其中较少被演奏的一首,这首作品虽不是其代表作,但其中的旋律及和声特点均延续了其一贯的浪漫主义风格特点,更具有女性独有的温柔与细腻,旋律优美,效果突出,细致优雅,娓娓动听。本文主要从作品创作手法及如何在演奏上体现作品的艺术形象加以探索。
文摘Wolfgang Amadeus Mozart, one of the greatest musicians in the world, enchants people across eras with his fabulous music. Peter Shaffer, in Amadeus （2001）, depicts the mysterious life and death of this musician in a very different way. Instead of presenting an intelligent and refined artist, Shaffer, from the perspective of his rival, Antonio Salieri, gives us a ＂foul-mouthed, immature jackanapes＂ that shocks his audiences in the theatre. Lady Thatcher＇s displeased response after seeing the play tells the gap between Shaffer＇s Mozart and the Mozart image in most public＇s mind. However, the image of the vulgar Mozart, though a contrast to his music, lights up the uniqueness of his music at the age of Enlightenment. The paper, aims to analyze the difference in Mozart＇s music and the different Mozart character Shaffer presents in his play by drawing on Ren6 Girard＇s notion of collective violence and scapegoat mechanism. Also, the author intends to examine the playwright＇s intention and exegesis as he composes this mysterious musician in such a different way
