標題: 賴韋吟大提琴演奏會(含輔助文件: 舒曼A小調大提琴協奏曲作品129之詮釋與演奏探討)
WEI-ING LAI CELLO RECITAL WITH A SUPPORTING PAPER:INTERPRETATION AND PERFORMANCE PRACTICE OF SCHUMANN’S CELLO CONCERTO IN A MINOR, OP. 129
作者: 賴韋吟
顧美瑜
金立群
Ku, Mei-Yu
Lap, Kwan Kam
音樂研究所
關鍵字: 舒曼;大提琴協奏曲;速度術語;節拍器速度;管弦配器;Robert Schumann;cello concerto;metronome marks;tempo marks;orchestration
公開日期: 2010
摘要: 舒曼創作於1850年的A小調大提琴協奏曲,為浪漫時期第一首大提琴協奏曲。鑑於曲中節拍器速度與管弦配器往往受人質疑,本文便以此作為探討主軸,並進一步提出相關的詮釋想法。 本論文共分成四個章節,第一章概述該協奏曲的出版過程與早期的演出評價,探討上述爭議的可能原因;第二章從舒曼指示的速度術語、節拍器速度與樂曲分析,並參考相關有聲資料,探討實際的演奏考量;第三章則從管弦配器法與主奏和樂團間的互動關係,解讀全曲音樂氛圍的轉折,並提出適合的詮釋方式;最後於第四章總結。
The cello concerto in A minor composed by R. Schumann in 1850 was the first cello concerto of the Romantic Period. Since its metronome marks and the orchestration were questioned frequently, this thesis will concentrate on these matters, and then elaborate on the related interpretative issues. This paper is divided into four chapters; firstly, we briefly describe the publication process of the concerto and the early reception to its performance, before we inquire into the possible causes of the above disputes; secondly, starting with Schumann’s tempo and metronome marks and form analysis, we considerate concrete performance issues with reference to relevant recordings; third, we study the emotional alteration in this piece by means of the orchestration and the interaction between the soloist and the orchestra, then provide an appropriate interpretation; finally, we make a summary of the whole thesis.
URI: http://140.113.39.130/cdrfb3/record/nctu/#GT079746514
http://hdl.handle.net/11536/45754
Appears in Collections:Thesis


Files in This Item:

  1. 651401.pdf
  2. 651402.pdf
  3. 651403.pdf