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本文以莫扎特器乐创作为例来说明他的音乐思维原则在主题上的体现,重点是他生命的最后十年,也就是他思想完全成熟期所创作的音乐作品为例来说明。主要是他的室内乐和协奏曲体裁的创作——五重奏,四重奏,小提琴和钢琴奏鸣曲,钢琴协奏曲——这些是他器乐创作的基本方面,也是本文作者论述的主要依据。 莫扎特的室内乐和钢琴协奏曲是研究这位作曲家主题思维的最好材料。可以说,正是这些作品中莫扎特创造出如此高的精神美的世界,因为这些作品本身就是艺术的和哲学的新发现。他的目的并不是体现已明确认识了的哲学思想,莫扎特在主题发展的每个水平上“从内部’就已哲理化了。哲学在他来说理解为各种关系的——直接的,间接的纯音乐现象的推理方式。所以在分析具体范例时在音乐中所表现的不仅反映了音乐中的精神运动,而且也有哲学的潜台词。
This paper takes Mozart’s instrumental music creation as an example to illustrate the theme of his musical thinking principle, focusing on the last ten years of his life, that is, the musical works created by his full maturity of thought as an example. Mainly his genre chamber and concerto genre creation - quintet, quartet, violin and piano sonatas, piano concerto - these are the basic aspects of his instrumental writing, but also the main basis for the author’s discussion. Mozart’s chamber music and piano concerto is the best material to study the composer’s thematic thinking. It can be said that it is Mozart to create such a high spiritual beauty in these works because these works themselves are the new discoveries of art and philosophy. His purpose is not to reflect the philosophical ideas that have been clearly understood, but Mozart has been “internally” philosophized at every level of the development of the subject. Philosophy, for his part, is understood as a direct, indirect Pure music phenomenon reasoning way.Therefore in the analysis of specific examples in the music performance not only reflects the spiritual movement in music, but also the philosophy of subtext.