澳洲代写参考资料:音乐专业-1

by | 26-Aug-2012 | 英国留学常识

澳洲代写音乐论文案例研究中文译本1:论文题目-分析贝多芬的钢琴奏鸣曲

Opus.31 2号—–快板

贝多芬中期的作品,论文代写总是引起的不确定性和争议,如失踪的草图,轶事和多样性的影响的版本。据溜冰场,讨论应该关注一个特定概念成型件的分析,并有可能在性能上实现的,而不是描述的共性。因此,为了体现这一点,我要回到最明显和最熟悉的情况下,在贝多芬的曲目,包括钢琴奏鸣曲作品。 31。第2,第3乐章。这项运动表演的细节,生动地说明了确切的解释之间可能存在的快板,动态分析的角度,从现代美学和历史背景和踏板分别。

快板

大量证据可以很容易地发现无论是在录音和分数。例如,保罗BADURA斯柯达已经录制了许多贝多芬的奏鸣曲钢琴和他的节奏范围内的参数,这些节拍器的迹象在1988年罗森布鲁姆,(引)。贝多芬的钢琴奏鸣曲第17号D小调,作品有四组节拍器指示。 31第2号

从上面的表格中,范围小快板标间76和88附点四分音符。很明显,范围已覆盖中庸与快板。钢琴大师的录音的分析借助于节拍器的基础上,此外,在快板节奏的范围内可以被大致归纳在74和92之间的附点四分音符。 (见表2)

基于上述,在快板指示的范围已经覆盖了两种不同类型的表达式条件(中庸的快板)。例如,通常,普通快板可以设置在72和78之间的范围内的附点四分音符。然而,在这一点上,Guld的记录,他暗示,92宠爱季度的138的四,这可能是一个快节奏作为一个普通的快板。同样,车尔尼,Simrock版建议一个节拍器商标88的宠爱季度(132到四),这可能是一个等于快板的节奏。为了让这一点,在我看来,我打算解释快板以温和的速度(约78到溺爱四)。有两个原因可以解释这一点。1

首先,音乐性明显改变,三至二倍,增加了pralltriller(见示例),可以推断,贝多芬是希望通过使用pralltriller特点做了一个八分音符在温和的声音同样的效果与快板八分音符。换言之,只有在中度pralltriller可能达到的效果在allegro.h八分音符,这要求在中度的节奏不能不要太快。

例1

快板:

关于被称为的“暴风雨”的标题,一个快板的速度是不适合的最后运动,以解释莎士比亚的暴风雨的结局(毕竟,选择到接受所有为爱结束)以及快递莎士比亚的和平的心态在他的老年龄(暴风雨是他的最后一部戏)。 Allegro是不适当的最后一个乐章,以反映贝多芬的抑郁症,贝多芬的证据是,写他的海黎詹斯登的约在同年(要求一个快节奏,他实在是太抑郁)。因此,我选择了速度稍快Adante酒店,在我自己的表现略慢于快板。 (大致在约78到溺爱季度)。

踏板

许多文件表明,贝多芬的意图踏板,踩下踏板的曲终。基于这一点,它很容易得出结论,贝多芬的踏板指令是不适用我们的时间在贝多芬的时间insrument由于不同来源,从现在我们所拥有的。对于这最后的快板,这两个版本的多样性踏板和录音出现。显而易见的是,有没有说明踏板Urtext在第三乐章Op.31第二,但也有不少的指令长踏板被标记在某些版本(egCzerny的西格蒙德·Lebert)看到exsample 4;举例

 

澳洲代写 Asssignment:澳洲音乐论文

A case study: analysis of Beethoven’s piano sonata in

Assignment Opus.31 No. 2—–allegretto

With the works of Beethoven’s middle period, there always arouse uncertainties and controversies, such as the missing of sketches, the influence of anecdotes and diversity of editions. According to Rink, the discussion should concern a particular conceptual shaping of piece realized in analysis and possibly in performance as well instead of describing universals. Therefore, to exemplify this point, I return to the most obvious and familiar case in Beethoven repertoire, namely the piano sonata Op. 31. No. 2, the 3rd movement. Details in performances of this movement vividly illustrate the exact interpretation that can exist between modern aesthetics and historical context from the analysis of perspective of allegretto, dynamic and pedal respectively.

Allegretto

Considerable evidences can be easily found both in recordings and scores. For example, Paul Badura-Skoda has recorded many of Beethoven’s sonatas on piano and most of his tempos fall within the parameters of these metronome indications (cited in Rosenblum,1988). There are four sets of metronome indications for Beethoven’s piano sonatas in No. 17 in D minor, Op. 31 No. 2

From the table above, the range of allegretto is marked between 76 and 88 to the dotted quarter. It is obvious that the range has covered both moderato and allegro. In addition,based on the analysis of the Piano Masters ‘s recordings by means of metronome, the range of tempo in allegretto can be roughly summarized between 74 and 92 to the dotted quarter. (see table 2)

Based on above, the range of indication in allegretto has covered two different kinds of expression terms (moderato and allegro). For example, generally, ordinary allegretto could be set in the range between 72 and 78 to the dotted quarter. Based on this point, however, in terms of Guld’s recording, he implied 92 to doted quarter(138 to the quater), which could be a tempo as fast as an ordinary allegro. Similarly, Czerny,Simrock edition suggested a metronome mark of 88 to the doted quarter (132 to the quater), which could be a tempo equal to allegro. To give this, in my opinion, I intend to interpret allegretto with a moderate pace(around 78 to doted quater). There are two reasons can explain this point.

First, the musical character obviously change from triple to duple by means of added a pralltriller(see example3 ), It could be inferred that Beethoven intented by using the pralltriller characteristics made a eighth note in moderate sounds the same effect with a eighth note in allegro. In other words, only the pralltriller in moderate could achieve the effect of eighth note in allegro, which requires that the tempo in moderate could not be not too fast.

澳洲代写论文 Assignment & Essay Example 1

Allegretto:

Concerning the title referred to as the “tempest”, an allegro pace is inappropriate for the last movement to interpret the Shakespeare’s Tempest ending (after all, chose to accept all in the end for love) as well as express Shakespear’s peaceful mind in his old age (Tempest is his last play).  Allegro is also inappropriate for the last movement to reflect Beethoven’s depression, the evidence is that Beethoven wrote his Heiligenstadt Testament in the same year (he is too depressive to demand a fast tempo). Therefore, I choose a tempo that is a little faster than adante and a little slower than allegro in my own performance. (roughly around around 78 to doted quarter).

Pedaling

Many documents indicate that Beethoven’s intention on pedal is to hold down the pedal as the end of the piece . Based on this point, it is easy to conclude that Beethoven’s pedal instruction is not applicable to our time due to the insrument in Beethoven’s time is differnet from what we have now. For this final allegretto, both editions and recordings emerged as the diversity of the pedal. it is evident that there were no instructions of pedal on Urtext in the 3rd movement of Op.31 no.2, but there are quite a few instructions of long pedal were marked in some edition (e.g.Czerny’s  Sigmund Lebert)

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