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Tempo and rubato in Alexander Scriabin’s early piano preludes

机译:亚历山大·斯克里亚宾早期钢琴的节奏和节奏

摘要

Tempo and rubato in Alexander Scriabin’s early piano preludesThe score is the main source on which a performer’s interpretation is based. Despite its level of detail, the score provides only a very incomplete representation of the music itself. The development of an interpretation of a piece of music is in essence a creative artistic process, whereby artists make different personal artistic decisions.This research examines the parameters tempo and rubato (tempo variation) in the performance of Scriabin’s piano preludes on the basis of recordings from 1910 until 2010. A study of the recordings allows an objective comparative research of the pianist’s artistic decisions and provides insight in the performance history of these preludes.Hence, the development of an efficient and consistent method to compare the performers’ decisions concerning tempo and rubato on a large scale is a major research objective. The recording analysis, using a combination of different aural analysis methods, software tools and statistical data analyses, results in a mapping of the differences and similarities in the pianist’s interpretations. A reconstruction of a century of performance history opens up opportunities for a more grounded, more profound and deliberate personal interpretation of the preludes for pianists of today.Based on the (preliminary) results of the analysed recordings the researcher formulated hypotheses concerning tendencies and singularities in the performance history of the preludes, resulting in a setup for a personal artistic experiment. Certain expression forms in playing, such as specific types of rubato playing and types of ‘micro timing', seem to have been gradually falling in disuse over time. Through this experiment the researcher aims to relearn, assimilate and incorporate them as part of his personal playing style, leading to an enriched spectrum of expression tools.Supervisor: prof. dr. Pieter Bergé (KU Leuven)Co-supervisor: dr. Piet Swerts (LUCA School of Arts)
机译:亚历山大·斯克里亚宾(Alexander Scriabin)早期钢琴曲中的拍子和节奏乐谱是演奏者演绎的主要依据。尽管其详细程度很高,但乐谱仅提供了音乐本身的非常不完整的表示。对音乐的诠释的发展本质上是一个创造性的艺术过程,艺术家可以做出不同的个人艺术决定。这项研究在录音的基础上研究了斯克里亚宾钢琴序曲演奏中的拍子和节奏(变奏)参数。从1910年到2010年。对唱片的研究可以对钢琴家的艺术决策进行客观的比较研究,并洞悉这些前奏的演奏历史。因此,开发了一种有效且一致的方法来比较表演者在节奏和节奏方面的决策。大规模的rubato是主要的研究目标。录音分析结合了不同的听觉分析方法,软件工具和统计数据分析,可以绘制出钢琴演奏家的不同之处和相似之处。重建一个世纪的演奏史为当今钢琴家的序曲开辟了更扎实,更深刻和深思熟虑的个人解释的机会。研究人员基于分析记录的(初步)结果,提出了有关钢琴演奏倾向和奇点的假设序曲的演奏历史,从而进行个人艺术实验。游戏中的某些表达形式,例如特定类型的墨西哥卷子演奏和“微定时”类型,似乎随着时间的推移逐渐逐渐消失。通过该实验,研究人员旨在重新学习,吸收和整合它们,将其作为他个人演奏风格的一部分,从而开发出丰富的表达工具。博士PieterBergé(KU Leuven)联合主管:Dr. Dr. Piet Swerts(卢卡艺术学院)

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