论李斯特《b小调钢琴奏鸣曲》的主题衍生思维  

On the Thematic Derivation Thinking of Liszt’s Piano Sonata in B Minor

作　　者：黄玥 王翠华 HUANG Yue;WANG Cui-hua(Music School,Hefei Normal University,Hefei 230601,Anhui;Shanghai Conservatory of Music Graduate Department,Shanghai 200031)

机构地区：[1]合肥师范学院音乐学院,安徽合肥230601 [2]上海音乐学院研究生部,上海200031

出　　处：《阜阳师范大学学报（社会科学版）》2020年第5期138-146,共9页Journal of Fuyang Normal University：Social Science

基　　金：安徽省高等学校人文社会科学重点研究项目“音乐分析学视角下的肖斯塔科维奇钢琴作品研究”(SK2020A0140);安徽省质量工程教学研究项目“应用型本科音乐专业教学质量监控体系研究”(2017jyxm1364)

摘　　要：李斯特《b小调钢琴奏鸣曲》中的主题衍生手法是其结构力形成的重要因素。文章结合已有文献中的解释,提出个人对"主题衍生"的理解,从各主题的原始素材、各主题之间的衍生发展和双重手法的综合运用三方面,重点探究作品中主题衍生手法的运用,并总结运用这一手法的意义。旨在通过对该作品中主题衍生手法的探讨,促进理论研究者们进一步加深对李斯特作品的理解,为演奏者们处理该作品提供理论依据。The thematic derivation in Liszt’s Piano Sonata in B Minor is an important factor in the formation of its structural force. Combining the explanations in the existing literature, this paper puts forward personal understanding of the term "Thematic derivation". From the three aspects of the original materials of each theme, the derivation among each theme, and the comprehensive application of two techniques, this paper focuses on exploring the use of the thematic derivation technique in this work, and summarizes the significance of using this technique. The purpose is to promote theoretical researchers to further deepen their understanding of Liszt’ works and to provide theoretical basis for the players to deal with the work through the discussion of its thematic derivation techniques.

关 键 词：李斯特 《B小调钢琴奏鸣曲》 原始素材 主题衍生 双重手法 

分 类 号：J614[艺术—音乐]