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勃拉姆斯 D大调小提琴协奏曲 音乐风格研究
勃拉姆斯 D大调小提琴协奏曲 音乐风格研究
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艺术探索 2008 年 第 22 卷 第 6 期(总第 91 期)
副部主题动听地由独奏小提琴奏出。这支旋律将柔和的级
进音型与舒展的跳进音型融合在一起,显得格外迷人,就象是唱
给恋人的一首真挚的情歌。谱例四:
上文已提到,勃拉姆斯小提琴协奏曲中的歌曲性旋律,常常
是作为各乐章的主题来呈示的。因此,他在保留了古典套曲的整
体格局和各乐章曲式结构的同时,用自己特有的、
并且也是浪漫
主义时尚的歌曲性旋律,统一了套曲及其各乐章对主题的不同
要求,这既使他的作品带上了个性,又在古典主义形式与浪漫主
义情感之间找到了平衡点。
其次,运用古典的变奏手法服务于浪漫主义的情感表达。
由于勃拉姆斯的歌曲化旋律及其抒情气质不宜做古典式的动
机展开,因此,他的发展不像贝多芬那样常常建立在短小而极
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勃拉姆斯《D大调小提琴协奏曲》音乐风格研究 /余双慧
具潜力的主题核心基础上,并做纯器乐式的交响性处理。而是 常任凭无法遏制的情感之波冲击理性的藩篱,从而打破了古
在乐曲开始就展现出一个完整而鲜明的基本抒情形象,其后 典主义适度的情感与均衡的结构之间的平衡。然而,对勃拉姆
的发展只是在细节上稍加改变,所以这种变奏在本质上保持 斯来说,情感的奔涌或想象的驰骋仍是有节制的。在他的《D
了原有形象及其完整性。在《D 大调小提琴协奏曲》第一乐章 大调小提琴协奏曲》中,没有浮夸华丽的装饰,没有空洞无物
的呈示部中,主部主题在其后展开部和再现部中的发展变化 的炫技,更没有生造而成的形式“无定型”结果。正如上面所
(表现在音区、织体、音型、力度、节奏型上),就鲜明而典型地 讲,勃拉姆斯的《D 大调小提琴协奏曲》各乐章的结构类型都
体现出这种变奏手法的特性。谱例五: 清楚明晰,基本符合古典套曲对各乐章的曲式要求。因此,勃
拉姆斯在这方面很好地实现了古典主义形式与浪漫主义情感
地融合。
最后,基本保持古典风格的节奏、音型和律动,但偏好具有
某种表情意义的持续节奏或音型,为浪漫主义情感表达服务。在
这首《D 大调小提琴协奏曲》中,勃拉姆斯有时在乐曲的某一部
分或某个段落中,长时间地贯穿使用某一节奏型 (包括织体类
型),它们类似勃拉姆斯某些艺术歌曲中的钢琴伴奏,起到渲染
烘托气氛的造型性作用。谱例六:
意境、
在第二乐章中,主题由悦耳柔美的双簧管奏出,安详且富于
田园风格,迷人的色调,给人深刻印象。随后,独奏小提琴以不完
整和变奏的方式重复这一主题,使主题更为柔和,美丽动人,充
分流露出作曲家内心情感的微妙变化。可见,勃拉姆斯的变奏,
实质上是在保持或基本保持主题完整的前提下,而做的一种多 顺便指出,这种关于同一节奏型或织体的持续,是浪漫主
多角度或多侧面的“展现”
方位、 而已。 义情感表达的一种方式,它是与浪漫主义连绵不断的情感状
可以说,勃拉姆斯的变奏是有限制、有前提和有特定目的 态相适应的。在肖邦的《夜曲》
《波兰舞曲》和《练习曲》中,持续
的。所谓“有限制”
,是指勃拉姆斯要最大限度地保持被变因素的 的节奏型或音型不仅作为特定体裁的标志,而且代表同一种
原始面貌和基本性格,而又不致形成“变奏曲式”
的印象或结果; 情感或情绪的长时间延续。舒曼在晚期创作中甚至用这样的
所谓“有条件”,是指他的变奏通常是在主题,尤其是具有歌唱性 节奏型贯穿整个作品。勃拉姆斯及其他浪漫派作曲家采用的
的主题或材料片段上进行。因此,勃拉姆斯在有限制的前提下, 节奏型,与古典风格中无特定隐喻意义的固定节奏律动显然
把既带有自己个性又体现时代风格的浪漫化曲调或主题,做“强 不同。可见,勃拉姆斯的神来之笔,又是借用了古典主义形式
调”而非“变奏”的处理,既加强其歌唱性和完整性,又获得抒情 与浪漫主义情感相合一的产物。
性或多样性,从而把自己所要表达的浪漫主义情感和古典的变 总之,勃拉姆斯以这首激情涌动而又深思熟虑的作品,证
奏处理方式有效地结合起来。 明了属于 19 世纪浪漫主义时代的古典风格所具有的生命力。
再次,在保持古典套曲基本布局的基础上,以宏大的规模 他的《D 大调小提琴协奏曲》在形式上“基本”保持了古典的“体
或超凡的长度,为浪漫主义的情感表达提供广阔的空间。勃拉 裁-结构”原则,但他的本质是浪漫主义的,他用古典主义的旧
姆斯的《D 大调小提琴协奏曲》在篇幅上的显著特点是规模宏 瓶,装浪漫主义的新酒。在诸如结构比例、旋律风格、展开手法
大,长度超凡。试将这首作品与海顿、莫扎特最后一首钢琴奏 等方面做了必要而适度的丰富和拓展,使古典的形式能更好地
鸣曲作一比较。表二: 满足并适应浪漫主义丰富、细腻而多变的情感内容。因此,这部
小提琴协奏曲是古典主义形式与浪漫主义情感的完美结合,它
不仅表明了勃拉姆斯在这方面最成熟的造诣,对“最高艺术”的
不懈追求,而且也体现出他在这方面的“终极化”追求,即:谋求
“经典形式”与“个人情感”间的融合。可以说,勃拉姆斯比 19 世
纪任何人更以其音乐证明了浪漫主义鲜花的根深植在古典主
义传统土壤上。
从上表可以看到,勃拉姆斯这部作品各乐章的规模远远
超过了海顿和莫扎特的。形式的扩张,意味着内容的充实,亦
即意味着勃拉姆斯所表达的情感更为绵绵不绝、所发挥的想
象更加广阔。
虽然浪漫主义作曲家在创作中沿用古典形式,但他们常
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艺术探索 2008 年 第 22 卷 第 6 期(总第 91 期)
Abst ract s: arch music structure from many aspects. richness in content, clear de-
scription, conciseness as well as unique prospects are the main charac-
teristics of it.
Castrato and 17th and 18th Century Vocal Arts [Key Words] Arch,Arch music structure,20th century music
Ni Haixia
[Abstract] In the history of European music, with the emergence and de- Music: Dance of Soul w ith Shackles
velopment of operas, castrato had once dominated the Italian opera
LIN Zhaoxia
stages by being one of the leading performance and phenomena of Italian
[Abstract] Of all the arts, music is intangible. Why does this arts form ex-
opera seria,giving rise to popularization of “bel canto”across Europe in
ist within the depth of human hearts? The controversies between music e-
the 18th and 19th centuries which were called the golden age of bel canto
motion theorists and music form theorists have been conducted for a long
over the west music history. The present essay gives an account of the e-
time. The thesis tries to points out that the beauty of music lies in the
mergence, flourishing and decline of castrato and probes into its impact
combination of music and human emotion.
upon the development of modest music. The present essay gives an ac-
[Key Words] music,movement,Gestalt
count of the emergence, flourishing and decline of castrato and probes into
its impact upon the development of modern music.
Methodology of Traditional Chinese Music
[Key Words] Castrato, opera, voice trait, technique training
XIONG Jiangyuan
[Abstract] Based on the characteristics of traditional Chinese music and
The Musical Morphology Study on Datongzi Aria Siping
the demands of music education development, the thesis adopts
Tone of Badong Tangxi Opera
on- the- site perception and acoustic experience as the basic methodology
ZHANG Yanli of traditional Chinese music teaching. It interprets it from the aspects of
[Abstract] Badong Tangxi Opera is a small local opera in Enshi Tujia and the necessity, explanation of the methodology as well as how to incorpo-
Miao Autonomous Prefecture of Hubei province. Based on the previous rate it into teaching.
studies, the thesis conducts detailed analysis on the main tone in the aria [Key Words] methodology, on- the- site perception, acoustic experience
of Badong Tangxi Opera. The author discovers the difference and similari-
ty of all kinds of roles’aria as well as its essence. This study lays the
The Study on Music Style of Brahms’Violin Concerto D
foundation for the further study on the cultural connotation of the Badong
Major
Tangxi Opera.
YU Shuanghui
[Key Words] Badong Tangxi Opera, Datongzi Aria, Siping tone, musical
Abstract:The thesis analyzes the D Major Violin Concerto by Brahms. It
morphology
puts emphasis upon the structure of this concerto and points out how the
music style incorporate the classical structure with romantic emotion ex-
Investigation Report on the Ritual Music of the Civilian Tao-
pression, attempting to achieve the combination of the two.
ism“Duzhi”in Enshi Prefrecture
[Key Words] Brahms,violin concerto,music style
OUYANG Liang
[Abstract] Based on field research, this thesis conducts case study on
The investigation on harmony style of Grieg's semitone
the ritual music of the Civilian Taoism “Duzhi”in Enshi Prefrecture and
CAI Haiqin
analyzes the musical culture in the rites.
[Abstract] As the most important composer in Norway and founder of the
[Key Words] civilian Taoism, ritual music of “Duzhi”,opinion on music
folk music camp, Edvard Grieg 's most outstanding feature for his creative
classification,organization of orchestra,artistic traits
theme is that he applies music to describe the splendid and beautiful
scenery ,the civilian life in the rural mountain area and the fantasy image in
Discussion on the “Quanzhou Nan Yin”in Chinese Music
tales and legends. As the features of melody thinking and its harmony ap-
Dictionary proach in Grieg’s production can give us some inspiration to the develop-
CAI Yayi ment of our folk melody harmony, so this thesis will focus on analyzing the
[Abstract] “Quanzhou Nan Yin”officially got its name after Quanzhou Melody Thinking and the Harmony Application of the Grieg’s piano pro-
Government launched its application campaign for World Heritage by Chi- duction in details, and summarizing the application of melody diversifica-
na Arts Research Institute to UNESCO in 2003. In the 1985 edition of the tion and chromatic harmony.
China Music Dictionary, only the interpretation of the word “Fujian Nan Melody thinking,
[Key Words] Grieg, chromatic harmony,folk style
Qu”can be found. The author, combines field research with self practice,
putting forward several viewpoints regarding the definition of“Quanzhou The Analysis and Application of Music Class Collection The-
Nan Yin”.
ory in the Folk Songs in Guangxi
[Key Words] Chinese Music Dictionary,Quanzhou Nan Yin,Fujian Nan
DAI Wei
Qu,Dong Guan
[Abstract] This thesis attempts to explore in the sound level structure
of Guangxi folk song, with the music class collection theory, trying to
Comment on Dr. Li Xiaonuo’s Research on Arch music discuss the structural function and expression method of the music
structure centralization as well as the structural force function caused by music
WANG Tao centralization and other factors upon folk music. It also points out the
[Abstract] The arch structure is one kind music structure shape which meaning and inspiration of analyzing folk songs with music scale collec-
has been developing through centuries. It was frequently adopted in the tion.
20th century. Composers expands this principle into a way of thinking and [Key Words] music scale collection,Guangxi folk song,structural role,
a means of organization, thus forming a typical structure in modern music. meaning and creative inspiration
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