论肖斯塔科维奇《24首钢琴前奏曲》Op.34的音乐特色——以第三、第六首为例  

On the Musical Features of Shostakovich’s Twenty-four Piano Prelude(Op.34)——1663640548—Take the third and sixth preludes as examples

作　　者：黄玥 Huang Yue

机构地区：[1]合肥师范学院音乐学院,合肥230601

出　　处：《滁州学院学报》2021年第1期48-53,73,共7页Journal of Chuzhou University

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)。

摘　　要：肖斯塔科维奇的《24首前奏曲》(Op.34)是其钢琴创作风格确立阶段的代表作,具有很高的研究价值。文章以第三和第六首前奏曲为例,分析其曲式结构和主要素材,并从纵向和音构成、横向连接逻辑、调式音高构成与总体和声布局四个维度,重点研究其和声技法,以探究该作品的音乐特色。文章旨在完善肖斯塔科维奇音乐的理论研究,并帮助演奏者们把握肖斯塔科维奇的音乐风格。Shostakovich’s Twenty-four Preludes(Op.34)is a representative work in the establishment stage of his piano creation style,which has high research value.Taking the third and sixth preludes as examples,this paper analyzes their musical form structure and main materials,and focuses on their harmonic techniques from four dimensions:vertical harmony composition,horizontal connection logic,mode pitch composition and overall harmony layout,so as to explore the musical characteristics of the works.This paper aims to complete the theoretical study of Shostakovich’s music and help the performers grasp Shostakovich’s musical style.

关 键 词：肖斯塔科维奇 《24首钢琴前奏曲》 曲式结构 主要素材 和声技法 

分 类 号：J624.1[艺术—音乐]