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学术讲座《贝多芬:作为十八至十九世纪音乐家“之一”》

  • 作者:音乐孔子必赢网址线路检测中心办公室·中外音乐文化交流与体验基地  
  • 来源:必赢贵宾会登录网址.首頁
  • 发布日期:2020-11-28 09:18:00

  学术讲座《贝多芬:作为十八至十九世纪音乐家“之一”》

  Academic Lecture  Beethoven as "One" of the Composers in Eighteenth- and Nineteenth-Century

  主讲人:丸山瑶子

  Lecturer: Yoko Maruyama


(点击图片观看视频)

  讲座简介

  “贝多芬是无与伦比的创作天才。” ——贝多芬的这一形象已被音乐学史料默认长达两个世纪。这一观念影响了19世纪音乐风格的整体概念,以及贝多芬在其中的地位。

  在过去几个世纪里,许多分析型研究认为贝多芬的在曲式、和声及主题推进等作曲技法方面是原创的、非传统的或革新性的,然而,这些音乐分析主要研究的是他本人的作品,同时代其他作曲家,除海顿和莫扎特之外,其他人的作品却鲜有提及。海顿和莫扎特对19世纪维也纳音乐风格的影响是毋庸置疑的,但我们低估了其他与贝多芬同时代的作曲家对贝多芬音乐风格的影响。如果不对这些作品进行研究,任何关于贝多芬音乐的解释及其原创性说法都无法令人信服。此外,在不清楚同时代其他作曲家音乐风格的情况下,人们可能会质疑,偏离传统是否是贝多芬的独有特色。

  的确,在贝多芬的钢琴奏鸣曲中,讨论最多的是“新方向”,这种新风格创作可追溯到贝多芬同时代的其他作曲家作品中(Edler and Mauser,2007)。我们在审视除钢琴奏鸣曲外的其他作品时,可以假设其他体裁中也存在这种趋势:与贝多芬同时代的一些作曲家似乎在挑战传统,尝试新的方向。

  本文将根据作者的音乐分析,说明与贝多芬同时代的作曲家如何采取与贝多芬类似的大胆方式进行创作,并以各种器乐体裁的音乐实例加以佐证。这些作曲家甚至在贝多芬采用类似的技术之前就做到了这一点。本文将从总体上阐明18世纪和19世纪初的音乐风格的某些方面,以启发人们重新思考其对贝多芬个人风格形成的可能意义。

  Introduction

  "Beethoven as unparalleled creative genius" — this imagery of Beethoven has been almost tacitly approved through two centuries of music historiography. It shaped the whole concept of musical style around 1800 in general, and Beethoven's role within it more specifically.

  Many analytical studies in the past few centuries have observed Beethoven's compositional technique as original, untraditional or innovative, in terms of formal or harmonic plan, thematic process and so on. Yet, musical analysis, with which Beethoven's stylistic innovation have been claimed, have dealt mainly with "his" works, while 

  compositions of his contemporaries, apart from J. Haydn and W. A. Mozart, have been left strangely out of consideration. Although the influence of Haydn and Mozart on Viennese musical style around 1800 is beyond question, Beethoven's direct contemporaries must have provided impetus for his style than is usually claimed. Without research into their works, the interpretation of Beethoven's music and any claims to its originality must remain unconvincing. Furthermore, insofar as the musical style of other contemporaries remains vague, one could question, whether deviation from the tradition would be exclusive feature of Beethoven.

  Indeed, in the field of piano sonatas, in which Beethoven's "Neuer Weg" have been most discussed, compositional endeavor toward new style can be traced in the works by his contemporaries too (Edler and Mauser, 2007). Examing the other works than piano sonatas, one can assume that this trend holds true with other genres as well: Some of Beethoven's contemporaries appeared to challenge the traditional scheme and try to take a new direction.  

  Based on the author's musical analysis, this paper will illustrate how Beethoven's contemporaries also took Beethoven-like adventurous strategies in their compositions, presenting musical examples from their various instrumental genres. They did it even before Beethoven took up similar techniques in his works. This paper will shed light on some aspects of the eighteenth-and early nineteenth-century musical style in general, in order to inspire reconsideration of their possible significance on the formation of Beethoven's personal style.


  主讲人简介

  丸山瑶子:日本庆应义塾大学美学与艺术史博士,维也纳大学音乐学博士,日本学术振兴会特别研究员,庆应义塾大学兼职讲师。曾获奥地利必赢贵宾会登录网址和研究国际合作局奖学金,罗姆音乐基金会奖学金,维也纳大学学位论文奖学金。研究方向:贝多芬作曲风格及其与同时代作曲家和社会背景的关系。她的研究兴趣还涉及原创作品编排、作曲风格与音响或乐器发展间的相互作用,先后在多个日本及国际学术会议中发表主旨演讲。

  Lecturer

  Yoko Maruyama, Ph.D. in Musicology, Aesthetics and Science of Arts at Keio University in Tokyo, Ph.D. in Musicology at the University of Vienna, Research Fellowships for Young Scientists of Japan Society for the Promotion of Science, a part-time instructor at Keio University in Tokyo. She is a scholarship holder of the OeAD (Austrian Agency for International Cooperation in Education and Research (2012-2014), the Rohm Music Foundation (2014-2016) and the Dissertation Completion Fellowship of the University of Vienna (2016-2017). Her research focuses on Beethoven's compositional style and its relationship with his contemporary composers and social contexts. Her research interests also extend to arrangements of original works, interaction between compositional style and acoustics or development of musical instruments. Her current scholarly activities include presentations at various conferences both within and outside Japan.

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专题目录

学术讲座《贝多芬:作为十八至十九世纪音乐家“之一”》

作者:音乐孔子必赢网址线路检测中心办公室·中外音乐文化交流与体验基地来源:必赢贵宾会登录网址.首頁更新日期:2021-05-13 17:36:29发布日期:2020-11-28 09:18:00本栏目内容由党委宣传部负责维护

  学术讲座《贝多芬:作为十八至十九世纪音乐家“之一”》

  Academic Lecture  Beethoven as "One" of the Composers in Eighteenth- and Nineteenth-Century

  主讲人:丸山瑶子

  Lecturer: Yoko Maruyama


(点击图片观看视频)

  讲座简介

  “贝多芬是无与伦比的创作天才。” ——贝多芬的这一形象已被音乐学史料默认长达两个世纪。这一观念影响了19世纪音乐风格的整体概念,以及贝多芬在其中的地位。

  在过去几个世纪里,许多分析型研究认为贝多芬的在曲式、和声及主题推进等作曲技法方面是原创的、非传统的或革新性的,然而,这些音乐分析主要研究的是他本人的作品,同时代其他作曲家,除海顿和莫扎特之外,其他人的作品却鲜有提及。海顿和莫扎特对19世纪维也纳音乐风格的影响是毋庸置疑的,但我们低估了其他与贝多芬同时代的作曲家对贝多芬音乐风格的影响。如果不对这些作品进行研究,任何关于贝多芬音乐的解释及其原创性说法都无法令人信服。此外,在不清楚同时代其他作曲家音乐风格的情况下,人们可能会质疑,偏离传统是否是贝多芬的独有特色。

  的确,在贝多芬的钢琴奏鸣曲中,讨论最多的是“新方向”,这种新风格创作可追溯到贝多芬同时代的其他作曲家作品中(Edler and Mauser,2007)。我们在审视除钢琴奏鸣曲外的其他作品时,可以假设其他体裁中也存在这种趋势:与贝多芬同时代的一些作曲家似乎在挑战传统,尝试新的方向。

  本文将根据作者的音乐分析,说明与贝多芬同时代的作曲家如何采取与贝多芬类似的大胆方式进行创作,并以各种器乐体裁的音乐实例加以佐证。这些作曲家甚至在贝多芬采用类似的技术之前就做到了这一点。本文将从总体上阐明18世纪和19世纪初的音乐风格的某些方面,以启发人们重新思考其对贝多芬个人风格形成的可能意义。

  Introduction

  "Beethoven as unparalleled creative genius" — this imagery of Beethoven has been almost tacitly approved through two centuries of music historiography. It shaped the whole concept of musical style around 1800 in general, and Beethoven's role within it more specifically.

  Many analytical studies in the past few centuries have observed Beethoven's compositional technique as original, untraditional or innovative, in terms of formal or harmonic plan, thematic process and so on. Yet, musical analysis, with which Beethoven's stylistic innovation have been claimed, have dealt mainly with "his" works, while 

  compositions of his contemporaries, apart from J. Haydn and W. A. Mozart, have been left strangely out of consideration. Although the influence of Haydn and Mozart on Viennese musical style around 1800 is beyond question, Beethoven's direct contemporaries must have provided impetus for his style than is usually claimed. Without research into their works, the interpretation of Beethoven's music and any claims to its originality must remain unconvincing. Furthermore, insofar as the musical style of other contemporaries remains vague, one could question, whether deviation from the tradition would be exclusive feature of Beethoven.

  Indeed, in the field of piano sonatas, in which Beethoven's "Neuer Weg" have been most discussed, compositional endeavor toward new style can be traced in the works by his contemporaries too (Edler and Mauser, 2007). Examing the other works than piano sonatas, one can assume that this trend holds true with other genres as well: Some of Beethoven's contemporaries appeared to challenge the traditional scheme and try to take a new direction.  

  Based on the author's musical analysis, this paper will illustrate how Beethoven's contemporaries also took Beethoven-like adventurous strategies in their compositions, presenting musical examples from their various instrumental genres. They did it even before Beethoven took up similar techniques in his works. This paper will shed light on some aspects of the eighteenth-and early nineteenth-century musical style in general, in order to inspire reconsideration of their possible significance on the formation of Beethoven's personal style.


  主讲人简介

  丸山瑶子:日本庆应义塾大学美学与艺术史博士,维也纳大学音乐学博士,日本学术振兴会特别研究员,庆应义塾大学兼职讲师。曾获奥地利必赢贵宾会登录网址和研究国际合作局奖学金,罗姆音乐基金会奖学金,维也纳大学学位论文奖学金。研究方向:贝多芬作曲风格及其与同时代作曲家和社会背景的关系。她的研究兴趣还涉及原创作品编排、作曲风格与音响或乐器发展间的相互作用,先后在多个日本及国际学术会议中发表主旨演讲。

  Lecturer

  Yoko Maruyama, Ph.D. in Musicology, Aesthetics and Science of Arts at Keio University in Tokyo, Ph.D. in Musicology at the University of Vienna, Research Fellowships for Young Scientists of Japan Society for the Promotion of Science, a part-time instructor at Keio University in Tokyo. She is a scholarship holder of the OeAD (Austrian Agency for International Cooperation in Education and Research (2012-2014), the Rohm Music Foundation (2014-2016) and the Dissertation Completion Fellowship of the University of Vienna (2016-2017). Her research focuses on Beethoven's compositional style and its relationship with his contemporary composers and social contexts. Her research interests also extend to arrangements of original works, interaction between compositional style and acoustics or development of musical instruments. Her current scholarly activities include presentations at various conferences both within and outside Japan.

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