对钢琴作品音乐风格相关问题的研究
摘要
如果音乐史上,只有巴赫一位音乐家、只作一首乐曲、只有一位演奏者、只有一位听众,那么就没有作曲家、作品风格的问题。这如同若世界上只有一个人,就根本无从判断自己的美、丑一般。世界上万物绝对无法找出完全相同的两个,因此,有两个以上,就一定有异同的问题存在。音乐风格的存在问题也就是架构在“比较”上,从比较中,演奏者才能更容易、更深刻了解一位作曲者的意念,欣赏者才能判断演奏者的音乐是否合乎作曲者的要求。
而“音乐”讲的就是人的事情,讲作曲家创作一首曲子,如何创作?为什么创作?怎样创作?与当时的环境,心情,人物,历史等等有何关系?演奏者又通过什么方式去理解作曲家的创作意图?怎样表达?个人的观念如何?欣赏者在欣赏的同时感觉如何?……这些作曲、演奏、欣赏等相关联的因素,都离不开主体“人”的问题。人是最高级并且复杂的动物。这世界上,都没有一片树叶是相同的,也没有任何一双手的纹路是相同的,更何况是有思想,有观念的——人。由此可见,所有经过人再生的音乐,就必然会不同。音乐艺术的美妙之处就是构建在这种不同之上的。
既然,音乐讲的是与“人”有关的事情,那么所有音乐要研究的内容必定与“人”脱离不了关系。每一个“人”都有各自的性格与特征,人们的思想意识、审美习惯、感情表达方式也各自不相同,因此每个人在对音乐的理解层面上也不会是一致的。任何音乐的理解与处理都不会是一成不变的,即使同一个演奏家的演奏也不会绝然相同,不同性格特征的演奏家所演奏出的音乐,感觉必然会有区别,这就是我们所说的各自的“风格”。每个演奏者有各自的风格习惯,那么所演奏的音乐就会形成不同的音乐风格。因此,觉得演奏成功与否的关键之一还是与“人”的风格与特性密不可分的。
If the history of music, Bach's only a musician, and only a piece of music, only one player, only one audience, then there is no composer, work style issues. It's like if only one person in the world, there is no way to judge their own beauty, the ugly in general. Everything the world can never find two identical, so there are two or more, there must be differences in the problems. Music style foot structure problems also in the "more", from the comparison, the performer can be more easily, more profound understanding of a composer's ideas, to judge players who enjoy the music composer is the requirements of almost.
The "music" is that people talk about things, talk about a piece of music composers, how to work? Why work? How creative? And then the environment, mood, character, history, etc. What is the relationship? By what means the player has to understand the composer's creative intent? How to express? The concept of how individuals? Enjoy the appreciation in the same time feel?……The composition, performance, appreciation and other associated factors, are inseparable from the subject "people" issues. Man is the most advanced and complex animals. This world, not a leaf is the same, nor did any of the lines are the same hands, let alone a thought, a concept-people. Thus, all through the regeneration of the music people, they inevitably different. The beauty of art of music is built on top of that difference.
Now, the music is talking about "people" are concerned, then the contents of all music will be studied with the "people" can not escape relations. Each "person" has its own personality and characteristics of people's ideology, aesthetic habits, emotional expression is not the same individual, so everyone in the level of understanding of music will not be the same. Understanding and treatment of any music it will not be static, even with a player not playing the exact same, the different character of the player playing the music, I feel there must be a difference, this is what we call of their own "style. " Each performer has their own style of habit, then the playing of music will form a different style of music. Therefore, the key to the success of that one play or with "people" inseparable from the style and characteristics.
而“音乐”讲的就是人的事情,讲作曲家创作一首曲子,如何创作?为什么创作?怎样创作?与当时的环境,心情,人物,历史等等有何关系?演奏者又通过什么方式去理解作曲家的创作意图?怎样表达?个人的观念如何?欣赏者在欣赏的同时感觉如何?……这些作曲、演奏、欣赏等相关联的因素,都离不开主体“人”的问题。人是最高级并且复杂的动物。这世界上,都没有一片树叶是相同的,也没有任何一双手的纹路是相同的,更何况是有思想,有观念的——人。由此可见,所有经过人再生的音乐,就必然会不同。音乐艺术的美妙之处就是构建在这种不同之上的。
既然,音乐讲的是与“人”有关的事情,那么所有音乐要研究的内容必定与“人”脱离不了关系。每一个“人”都有各自的性格与特征,人们的思想意识、审美习惯、感情表达方式也各自不相同,因此每个人在对音乐的理解层面上也不会是一致的。任何音乐的理解与处理都不会是一成不变的,即使同一个演奏家的演奏也不会绝然相同,不同性格特征的演奏家所演奏出的音乐,感觉必然会有区别,这就是我们所说的各自的“风格”。每个演奏者有各自的风格习惯,那么所演奏的音乐就会形成不同的音乐风格。因此,觉得演奏成功与否的关键之一还是与“人”的风格与特性密不可分的。
If the history of music, Bach's only a musician, and only a piece of music, only one player, only one audience, then there is no composer, work style issues. It's like if only one person in the world, there is no way to judge their own beauty, the ugly in general. Everything the world can never find two identical, so there are two or more, there must be differences in the problems. Music style foot structure problems also in the "more", from the comparison, the performer can be more easily, more profound understanding of a composer's ideas, to judge players who enjoy the music composer is the requirements of almost.
The "music" is that people talk about things, talk about a piece of music composers, how to work? Why work? How creative? And then the environment, mood, character, history, etc. What is the relationship? By what means the player has to understand the composer's creative intent? How to express? The concept of how individuals? Enjoy the appreciation in the same time feel?……The composition, performance, appreciation and other associated factors, are inseparable from the subject "people" issues. Man is the most advanced and complex animals. This world, not a leaf is the same, nor did any of the lines are the same hands, let alone a thought, a concept-people. Thus, all through the regeneration of the music people, they inevitably different. The beauty of art of music is built on top of that difference.
Now, the music is talking about "people" are concerned, then the contents of all music will be studied with the "people" can not escape relations. Each "person" has its own personality and characteristics of people's ideology, aesthetic habits, emotional expression is not the same individual, so everyone in the level of understanding of music will not be the same. Understanding and treatment of any music it will not be static, even with a player not playing the exact same, the different character of the player playing the music, I feel there must be a difference, this is what we call of their own "style. " Each performer has their own style of habit, then the playing of music will form a different style of music. Therefore, the key to the success of that one play or with "people" inseparable from the style and characteristics.
引文
①十七、十八世纪通用的一种和声标记法,之哟低音用音符记出,和弦用低声部与其它声部之间相隔的音程数字标记。
②海·涅高兹：《论钢琴艺术》第28页.
③罗·舒曼：《音乐文选》,1956年莫斯科出版,第369页.
④查理·罗森：《古典风格》,1972年诺顿公司出版,第278页.
⑤汉斯利克：《论音乐的美》1854年人民音乐出版社第78页.
⑥让·飞利浦·拉莫(Jean-Philippe Rameau,1683～1764)是法国著名的作曲家,管风琴家,音乐理论家。拉莫50岁才走上戏剧音乐创作的道路,他的戏剧音乐包括法国这一时期的各种体裁样式；他于1722年发表和声学教程,奠定了近代和声学理论。
[1]郑三兴.钢琴音乐文选[M].厦门大学出版社.2000.2
[2]王庆音.乐结构与钢琴演奏[M].上海人民出版社.2006.6
[3]童道锦,孙明珠.钢琴教学与演奏技术[M].人民音乐出版社2003.6
[4]谢颖.20世纪钢琴大师[M].上海音乐出版社
[5]童道锦,孙明珠.外国钢琴作品的分析与演奏[M].人民音乐出版社
[6]童道锦,孙明珠.钢琴教学与演奏艺术[M].人民音乐出版社2003.6
[7]王宁一,杨和平.二十世纪中国音乐美学[M].现代出版社2000.1
[8]张红岛.欧洲音乐史[M].人民音乐出版社1983
[9]彭胜锦.钢琴演奏与风格[M].双林出版社2004.3
[10]约·霍夫曼.论钢琴演奏[M].人民音乐出版社2009.1
[11]根纳季·齐平.演奏者与技术[M].中央音乐学院出版社2005.2
[12]人民音乐出版社编辑部.西洋音乐的风格与流派[M].人民音乐出版社1990.7
[13]艾伦·科普兰.怎样欣赏音乐[M].人民音乐出版社1984.12
[14]张洪模.音乐分析[M].上海文艺出版社1981.9
[15]李凌.音乐漫谈[M].人民音乐出版社1983.1
[16]赵晓生.钢琴演奏演奏之道[M].上海世界图书出版公司1999.7
[17]李胜利.艺术概论[M].北京广播学院出版社.2003
[18]秦牧.艺海拾贝壳[M].上海文艺出版社.1978
[19]根·莫·齐平.音乐演奏艺术[M].人民音乐出版社2005.11
[20]萨姆·摩根斯坦.作曲家论音乐[M].人民音乐出版社,1986.10
[21]玛采尔(苏).论旋律.孙静云译.[M].北京音乐出版社,1958
[22]玄堡(奥).和声的结构功能.茅于润译.[M].上海音乐出版社,1958年.
[23]斯克列勃科夫.音乐作品分析.顾连理,吴佩华,汪启璋译.[M].上海文艺出版社,1962年
[24][美]罗杰·凯密恩(Roger Kami en).听音乐[M].世界图书出版社公司北京公司.2008.8
[25]艾雨.与傅聪谈音乐[M].上海三联书店.1991.
[26][美]唐纳德·弗朗西斯·托维.交响音乐分析[M].人民音乐出版社.1984.
[27]Kirby, F. E, Music In The Classic Period, New York:Schirmer Books 1979.
[28]Newman, William S, The Sonata in the Classic Era,1963,3rd edition,1983.
[29]Rosen, Charles, The Classic Style, New York. London:W·W·Norton and Company,1970.
[30]Williams, Peter,"The Harsichoard Acciaccatura:Theory and Practice in Harmony 1650--1750 " Musical Quarterly, vo1.54,503,1968.
[1]黄莹.风格研究[J].钢琴艺术2005.1
[2]露丝·史兰倩丝卡.指尖下的音乐[J].大吕音乐期刊22
[3]孙景美.论钢琴作品风格在教学中的重要性[J].牡丹江教育学院学报.2006.4
[4]吴英莲.巴洛克时期、古典主义时期、浪漫主义时期、近现代钢琴演奏风格比较[J].锦州师范学院学报.2003.1
[5]马瑞香.论艺术作品的风格[J].沈阳大学学报.2005.6
[6]凌发忠.论古典主义时期钢琴演奏的艺术风格[J].作家杂志.2010.6
[7]姜文子.肖邦《玛祖卡》舞曲的民族精神[J].沈阳音乐学院学报.2010.1
[8]郑三兴.论钢琴演奏风格的学说体系[J].音乐研究.2000.6
[9]贾春玉.巴赫晚期音乐风格研究[J].武汉科技学院学报.2007.6
[10]刘琨.古典及浪漫主义时期西方音乐风格特点剖析[J].东北师大学报.2010.3
[11]Downs, Philip G, Classical Music, New York,1992.
[12]Libin, Laurence, "An 18th—Century view of harpsichord" Early Music,16,1976.
②海·涅高兹：《论钢琴艺术》第28页.
③罗·舒曼：《音乐文选》,1956年莫斯科出版,第369页.
④查理·罗森：《古典风格》,1972年诺顿公司出版,第278页.
⑤汉斯利克：《论音乐的美》1854年人民音乐出版社第78页.
⑥让·飞利浦·拉莫(Jean-Philippe Rameau,1683～1764)是法国著名的作曲家,管风琴家,音乐理论家。拉莫50岁才走上戏剧音乐创作的道路,他的戏剧音乐包括法国这一时期的各种体裁样式；他于1722年发表和声学教程,奠定了近代和声学理论。
[1]郑三兴.钢琴音乐文选[M].厦门大学出版社.2000.2
[2]王庆音.乐结构与钢琴演奏[M].上海人民出版社.2006.6
[3]童道锦,孙明珠.钢琴教学与演奏技术[M].人民音乐出版社2003.6
[4]谢颖.20世纪钢琴大师[M].上海音乐出版社
[5]童道锦,孙明珠.外国钢琴作品的分析与演奏[M].人民音乐出版社
[6]童道锦,孙明珠.钢琴教学与演奏艺术[M].人民音乐出版社2003.6
[7]王宁一,杨和平.二十世纪中国音乐美学[M].现代出版社2000.1
[8]张红岛.欧洲音乐史[M].人民音乐出版社1983
[9]彭胜锦.钢琴演奏与风格[M].双林出版社2004.3
[10]约·霍夫曼.论钢琴演奏[M].人民音乐出版社2009.1
[11]根纳季·齐平.演奏者与技术[M].中央音乐学院出版社2005.2
[12]人民音乐出版社编辑部.西洋音乐的风格与流派[M].人民音乐出版社1990.7
[13]艾伦·科普兰.怎样欣赏音乐[M].人民音乐出版社1984.12
[14]张洪模.音乐分析[M].上海文艺出版社1981.9
[15]李凌.音乐漫谈[M].人民音乐出版社1983.1
[16]赵晓生.钢琴演奏演奏之道[M].上海世界图书出版公司1999.7
[17]李胜利.艺术概论[M].北京广播学院出版社.2003
[18]秦牧.艺海拾贝壳[M].上海文艺出版社.1978
[19]根·莫·齐平.音乐演奏艺术[M].人民音乐出版社2005.11
[20]萨姆·摩根斯坦.作曲家论音乐[M].人民音乐出版社,1986.10
[21]玛采尔(苏).论旋律.孙静云译.[M].北京音乐出版社,1958
[22]玄堡(奥).和声的结构功能.茅于润译.[M].上海音乐出版社,1958年.
[23]斯克列勃科夫.音乐作品分析.顾连理,吴佩华,汪启璋译.[M].上海文艺出版社,1962年
[24][美]罗杰·凯密恩(Roger Kami en).听音乐[M].世界图书出版社公司北京公司.2008.8
[25]艾雨.与傅聪谈音乐[M].上海三联书店.1991.
[26][美]唐纳德·弗朗西斯·托维.交响音乐分析[M].人民音乐出版社.1984.
[27]Kirby, F. E, Music In The Classic Period, New York:Schirmer Books 1979.
[28]Newman, William S, The Sonata in the Classic Era,1963,3rd edition,1983.
[29]Rosen, Charles, The Classic Style, New York. London:W·W·Norton and Company,1970.
[30]Williams, Peter,"The Harsichoard Acciaccatura:Theory and Practice in Harmony 1650--1750 " Musical Quarterly, vo1.54,503,1968.
[1]黄莹.风格研究[J].钢琴艺术2005.1
[2]露丝·史兰倩丝卡.指尖下的音乐[J].大吕音乐期刊22
[3]孙景美.论钢琴作品风格在教学中的重要性[J].牡丹江教育学院学报.2006.4
[4]吴英莲.巴洛克时期、古典主义时期、浪漫主义时期、近现代钢琴演奏风格比较[J].锦州师范学院学报.2003.1
[5]马瑞香.论艺术作品的风格[J].沈阳大学学报.2005.6
[6]凌发忠.论古典主义时期钢琴演奏的艺术风格[J].作家杂志.2010.6
[7]姜文子.肖邦《玛祖卡》舞曲的民族精神[J].沈阳音乐学院学报.2010.1
[8]郑三兴.论钢琴演奏风格的学说体系[J].音乐研究.2000.6
[9]贾春玉.巴赫晚期音乐风格研究[J].武汉科技学院学报.2007.6
[10]刘琨.古典及浪漫主义时期西方音乐风格特点剖析[J].东北师大学报.2010.3
[11]Downs, Philip G, Classical Music, New York,1992.
[12]Libin, Laurence, "An 18th—Century view of harpsichord" Early Music,16,1976.