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贝多芬晚期时他一直在寻求一些音乐展开的新方法,复调音乐创作的新因素与写作技法,特别是在赋格曲中提供了更加复杂而又有逻辑性的织体结构,是最有特点的,这较之巴洛克时期复调音乐又有的很大的不同。作曲家后期的音乐创作中所融入夫人复调音乐因素,是在借鉴和继承亨德尔、巴赫等前人复调写作的同时,又增加了复调创作中能表现贝多芬个性化的理解和立体式的表现力,这不仅使它与贝多芬个人性格及思想的动机展开手法相得益彰,而且还汲取了传统主调和声式手法的创作强势,使古老的复调音乐焕发出新的时代魅力,为后期复调音乐的创作和发展带来深远的影响。作品OP.130的终曲“大赋格”中,作曲家独创性的运用了主题变形的手法,可以说这是奏鸣曲式与赋格的真正融合,也是他探索赋格曲的最高成就。
When Beethoven was late, he had been looking for new ways of unwrapping music, of reconciling new elements of musical composition and writing techniques, especially in the case of the Fugue, which provided the most complex and logical texture of the weave Characteristics, which is quite different from Baroque polyphonic music. The composer incorporates the polyphony of his wife into the musical composition at the same time. It is based on the polyphonic writing of Handel, Bach and other predecessors, and at the same time adds the polyphonic creation to show Beethoven’s personal understanding and stereo Which not only make it complement each other with Beethoven’s personal character and ideological motivation, but also draw on the creative power of the traditional chorus and vocal style to give the old polyphonic music a new epoch of charm Late polyphony music creation and development have far-reaching impact. In the final song of OP.130, Da Fu Ge, the composer uses the theme deformation ingeniously. It can be said that this is the true fusion of sonata and fugue and the highest achievement of fugue .