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Mozart's Piano Concerto in D Minor, K. 466: The play with topics in the high, middle and low styles.

机译:莫扎特D小调钢琴协奏曲,肯塔基。466:以高,中,低风格为主题的演奏。

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摘要

This study presents the case that Wolfgang Amadeus Mozart's Piano Concerto in D Minor, K. 466 may be interpreted as a drama. Mozart creates the drama through his use of what Leonard Ratner calls musical topics. The topics are categorized under the high, middle, and low styles, which refer to both social and musical divisions of the eighteenth century. The concerto's broad dramatic arch moves through the high-style beginning to the low-style ending. The first movement juxtaposes the high-style ombra topic with its references to supernatural vengeance, and the middle-style gavotte topic with its references to pastoral pleasures. The struggle between these two styles is left unresolved at the end of the movement. The second movement reinterprets the struggle through the middle-style musette topic, representing a nostalgia for Arcadia, and the C section "storm," representing the disruptive desire of the artist. In the third movement, Mozart momentarily sidesteps the juxtaposition of the three styles through the contradanse topic: the struggle between the high and low styles is on a more relaxed scale. The movement's rondo form and low-style ending point to its ancestry in the opera buffa. Thus the dramatic spectrum ends in a comedy.;This paper offers a different interpretation from Wye J. Allanbrook's notion of the fitting comedic close. The comedic close may also be ironic. In this concerto, Mozart acknowledges both the necessity for the happy ending and the presence of chaotic forces. The ombra topic ultimately struggles with the stylus rusticanus close. They balance in a hovering equilibrium. The concerto thus resembles Mozart's dramma giocoso, Don Giovanni. Although we are left with the "happy" destruction of Don Giovanni, his absence sustains a negative presence. In the same way, the negative presence of the ombra topic in the concerto holds a powerful sway.
机译:这项研究提出了沃尔夫冈·阿玛迪斯·莫扎特(K. 466,D Minor)的钢琴协奏曲可能被解释为戏剧的情况。莫扎特通过使用伦纳德·拉特纳(Leonard Ratner)所说的音乐主题来创作戏剧。这些主题按高,中和低风格分类,涉及18世纪的社会和音乐领域。协奏曲的宽广的曲拱从高风格开始到低风格结束。第一乐章将高级风格的本影音主题与超自然复仇的内容并列在一起,而中级风格的草皮主题则将其与田园愉悦的内容并列在一起。机芯结尾处,这两种风格之间的斗争未得到解决。第二乐章通过中型小号主题重新诠释了斗争,代表了对阿卡迪亚的怀旧之情,而C型节“风暴”则代表了艺术家的破坏性欲望。在第三乐章中,莫扎特通过矛盾的话题暂时避开了三种风格的并置:高风格和低风格之间的斗争更加宽松。机芯的回旋曲形式和低调的结尾指向了歌剧布法族的起源。因此,戏剧性的光谱以一部喜剧结尾。;本文提供了与Wye J. Allanbrook的合身喜剧接近性概念不同的解释。喜剧的结束可能也具有讽刺意味。在这首协奏曲中,莫扎特承认了圆满结局的必要性和混乱力量的存在。 ombra主题最终会与Rusta手写笔的关闭产生冲突。它们在徘徊的平衡中保持平衡。因此,该协奏曲类似于莫扎特的德拉玛·乔科尼(Don Giovanni)。尽管我们留下了唐·乔万尼(Don Giovanni)遭受的“快乐”破坏,但他的缺席却带来了负面影响。同样,协奏曲中本影主题的否定性也有很强的影响力。

著录项

  • 作者

    Grissom, Onnie K.;

  • 作者单位

    The University of Oklahoma.;

  • 授予单位 The University of Oklahoma.;
  • 学科 Music.
  • 学位 D.M.A.
  • 年度 2003
  • 页码 126 p.
  • 总页数 126
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:45:58

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