【作者】 陈馨婷；

【导师】 张碚；

【作者基本信息】 西南师范大学 ， 音乐学， 2005， 硕士

【摘要】 通过多种分析手段和角度总结出研究发现,为不同时期作品的认识和比较提供尽可能丰富的数据资料,更好地服务于音乐创作和理论研究,是音乐分析工作的历史责任。采用多种分析方法研究传统技术手法创作的作品与研究近现代个性化手法创作的作品具有同样重要的意义。 斯克里亚宾的早期奏鸣曲作品是他一生创作的基础与发源,本文拟采用几种不同的音乐分析方法从曲式、比例、主题、旋律、节拍、节奏、和声、调性等切入点对它们进行分析,研究。一方面尽可能全面、系统和深入地探寻作曲家的创作特点,另一方面也通过这些分析方法在作品中的应用展示它们各自的特点和优势。 斯克里亚宾早期奏鸣曲作品的曲式结构反映出古典与浪漫主义时期美学观念与创作手法的影响,具有较典型的奏鸣套曲形式特征。其中第二奏鸣曲的调性安排及混合曲式结构体现了19世纪追求充分表达作品标题性内容,在曲式结构上为音乐提供更大发展空间的特点。这些作品中的比例关系采用了传统的黄金分割、对称等选点方式来研究。通过对主题的分析可以看出斯克里亚宾第一奏鸣曲的主题材料共出于a、b、c三个主题特征之下,第二奏鸣曲则以倒影逆行的b特征和c特征为主,第三奏鸣曲的主题仍然主要采用b、c两个特征的变体形式构成。对b特征的使用灵活多变,并在量上占据优势。斯克里亚宾第一奏鸣曲第1乐章副部及第3乐章中部在主题旋律构成方面与肖邦夜曲Op9,Nr2有惊人相似性。与肖邦的三首奏鸣曲作品相比,斯克里亚宾早期奏鸣曲在节拍节奏方面的探索已青出于蓝。充满激情和活力的节奏型、声部间不平衡的重音设置、三等分音和二等分音的节奏对位及大量快速流动的节奏型材料显示出浪漫主义音乐的常见状态及作曲者的一些独特风貌。作品中的和声手法基本属于19世纪和声应用的范畴,与欧洲浪漫主义风格一脉相承,但也已经显示出强烈的个性特征。调性方面仍以传统大小调为基础,从中可以观察到“拱形对称”等几种较有特色的调性布局规律。构成这些作品的大部分和声、调性元素立足浪漫与古典时期的传统,但已向现代阶段的风格进行了最初的尝试。更多还原

【Abstract】 It is a history duty of music analysis work that to sum up the discoveries of different analysis skill and angle, to provide enough data for identifying and comparing of works belong to different age, and to service well to music artistic creation and theories study. Adopting various analysis method study works composed by traditional technique skill or by modern characteristic skill have the same important meaning.Scriabin’s early sonatas for piano are foundation and origin of his artistic career. This text intend a few and different music analysis method in adoption to analysis and study them on song type, comparison, topic, melody, rhythm, rhythm, harmony, and tonal. On the one hand try to explore the composer’s artistic characteristics completely, systematic and thorough; on the other hand also to display the characteristics and advantages of these analysis method by the application of them in these work.Scriabin’s early sonatas reflect the influence of aesthetics idea and composing skill of classical and romantic age, have the characteristics of typical sonata song form. The arrangement of tonal and mixing song form in the 2nd sonata show characteristics of 19 centuries that pursues to expresses well headline contents, provides in larger development for the music on the song form. The study method of proportion relationship in the works adopted the traditional mode of gold section and symmetry etc. Through the analysis of the main theme, we can see the topic material of the first sonata all come from three topic features a, b, c; the 2nd sonata then major with the inverted reflection of b feature and c feature, the 3rd sonata still composed primarily with the two feature s b and c. The usage of b feature flexible and varied, and occupy advantage on the quantity. The second theme in the 1st movement and the central theme in the 3rd movement of the first sonata contain astonishing likeness with Chopin’s nocturnes Op9, Nr2 in the aspects of topic melody constituting. Comparing with Chopin’s three sonata work, the earlier work of Scriabin’s sonata of piano have already surpassed in the rhythm and bar. The rhythm type with alive and intense emotion, an unbalance arrangement of accent between voices, the triplet and the phonic rhythm and a large quantity of fast flowingly rhythm material displaying a familiar appearance of romantic doctrine and some special appearance of the composer. The basic harmony skill in the work belongs to the category of 19 centuries, can be traced to the same origin from European romantic doctrine style, but have already displayed the strong characteristic too. The tonal and the mode of these work still based on traditional major and minor size, from them we can observe several kinds of tonal and mode arrangement type like" arch and symmetry form" etc. The greater part of harmony and tonal element composing these works based on romantic and classic doctrine tradition. But they have proceeded to the modern style at the beginning of trial.更多还原