论舒曼钢琴套曲《蝴蝶》的艺术底蕴及其演奏

【作者】 李靓；

【导师】 司徒璧春；

【作者基本信息】 南京师范大学 ， 钢琴表演与教学， 2004， 硕士

【摘要】 本文针对近百年来，历史上对舒曼钢琴套曲褒贬不一的评价，以及一些权威的音乐史书称其为“结构松散的套曲”的评论，通过对舒曼钢琴套曲《蝴蝶》“形式自由”的体现及其必然性、其神韵的统一以及在演奏中如何把握其神韵这三方面的深入分析，试图挖掘其“超越形式而游于神韵”的艺术底蕴，使人们对《蝴蝶》有更清晰、更深入、更全面的认识，从而更全面准确地把握舒曼钢琴套曲的特点，在演奏中抓住其独特的风格。更多还原

【Abstract】 The Text is to give some different opinions on Schumann’s piano divertimento against the appraisal judgements in history and the comment recorded on some authoritative music history books that it is loosely organized. Through the in-depth analysis of threeaspects-the "Form free" embodiment and certainieses inSchumann"s piano divertimento "Papillons", the unity of the romantic charm and the control of the romantic charm in playing,it attempts to excavate its art inside information, that is , "surmount but form visit" ,so as to make people have a clearer ,deeper, overall understanding to "Papillons",thus hold the characteristic of Schumann’s piano diyertimento all-sidely and more accurately and catch the unique style while playing.更多还原