多梅尼科·斯卡拉蒂钢琴奏鸣曲中的音乐修辞策略——以K.159、K.430、K.520为例  

Musical Rhetoric Strategies in Domenico Scarlatti s Piano Sonatas:Take K.159,K.430 and K.520 as Examples

作　　者：吴娅辉 王旭青[2] WU Ya-hui;WANG Xu-qing(Institute of Arts Education,Hangzhou Normal University,Hangzhou 311121,China;Department of Musicology,Shanghai Conservatory of Music,Shanghai 200032,China)

机构地区：[1]杭州师范大学艺术教育研究院,浙江杭州311121 [2]上海音乐学院音乐学系,上海200032

出　　处：《美育学刊》2023年第2期80-90,共11页Journal of Aesthetic Education

摘　　要：多梅尼科·斯卡拉蒂是巴洛克时期的一位重要作曲家,他的钢琴作品在巴洛克时期非常具有代表性,并且对古典主义时期的钢琴奏鸣曲产生了深远的影响。通过对多梅尼科·斯卡拉蒂的三部钢琴作品中的主题、结构构建策略等进行音乐修辞学探讨,可以体现出斯卡拉蒂鲜明的个人风格以及对奏鸣曲式这一体裁的探索与贡献。Domenico Scarlatti was an important composer in the Baroque period.His piano works were very representative during that period and played a profound role in the piano sonata in the classical period.Music rhetoric refers to the theory of analyzing and studying music works through rhetoric theory,which is a relatively mature discipline in foreign countries.However,there are few scholars doing this research in China at present.From the perspective of music rhetoric,this paper aims to discuss the theme and structure construction strategies in Domenico Scarlatti s three piano works.

关 键 词：多梅尼科·斯卡拉蒂 钢琴奏鸣曲 音乐修辞 

分 类 号：J657[艺术—音乐] J609