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La Belle au Bois Dormant (The Sleeping Beauty) Tchaikovsky-Pletnev and Stravinsky's Petrouchka: a study of piano transcriptions comprising performances and analyses.

机译:美女柴可夫斯基-普列特涅夫(Tchaikovsky-Pletnev)和斯特拉文斯基(Stravinsky)的彼得鲁奇卡(Petrouchka):钢琴演奏的研究,包括表演和分析。

摘要

As the costs for mounting opera, ballet and orchestral concerts rise and as their audiencesdwindle, piano transcriptions of works orchestrated for such concerts can be a viable way of disseminating the music more widely than if the music was presented only in its originalform. With this in mind, it can be argued that piano transcriptions of music originallywritten for instrumental ensemble is still a viable form of musical expression, because thepiano is still the most widely used medium for the performance of art music in the Westernworld. Transcriptions of instrumental and vocal music expand the listening audience for acomposer's music while they also increase the repertoire of music for the piano for bothamateurs and professionals. The CD recording has the aim of providing a reference on which to base an appreciation of Pletnev's work. As the orchestral score is quite well known, the differentiation created by Pletnev, and the quality of his work, can be immediately perceived by hearing the execution of his scores and being able to cross reference his reductions with the original score. Timing references for the piano score have been included to further facilitate this cross-referencing. This thesis comprises two parts:1. A performance CD of Stravinsky's Petrouchka (1922 piano four-hand version) and Tchaikovsky's Sleeping Beauty (1999 solo piano transcription by Mikhail Pletnev). This accounts for 75% of the thesis.2. An exegesis, analysing selected portions of the orchestral score of Tchaikovsky's TheSleeping Beauty Op.66 and Pletnev's piano transcription suite, prefaced by an overviewof piano transcriptions from Liszt to Pletnev. This accounts for 25% of the thesis. The exegesis argues that, while seeking to recreate the colour and drama of Tchaikovsky's orchestral score within the context of a virtuosic piano solo, Pletnev has managed to transcribe Tchaikovsky's score faithfully with minimal alterations.
机译:随着安装歌剧,芭蕾舞和管弦乐队音乐会的成本增加以及观众的减少,与仅以原始形式呈现音乐相比,为此类音乐会精心策划的作品的钢琴转录可能是一种更广泛地传播音乐的可行方法。考虑到这一点,可以争辩说,最初为器乐合奏创作的音乐的钢琴转录仍然是音乐表达的一种可行形式,因为钢琴仍然是西方世界中艺术音乐演奏最广泛使用的媒介。器乐和声乐的转录可以扩大作曲者音乐的听众范围,同时也可以提高业余演奏者和专业演奏者的钢琴音乐储备。 CD录音的目的是提供参考,以此作为对Pletnev作品的欣赏。由于管弦乐分数众所周知,普列特涅夫创造的差异性和他的作品质量可以通过听他的分数的执行情况并能够将他的减少与原始分数交叉引用而立即感知到。包括了钢琴乐谱的时间参考,以进一步促进这种交叉参考。本论文包括两个部分:1。斯特拉文斯基的《彼得鲁奇卡》(1922年钢琴四手版)和柴可夫斯基的《睡美人》(1999年,米哈伊尔·普列特涅夫的钢琴独奏)的演奏CD。这占论文的75%。2。一个解经,分析了柴可夫斯基的《睡美人》 Op.66和普列特涅夫的钢琴音译套件的管弦乐乐谱的选定部分,并以从李斯特到普列特涅夫的钢琴音译概述为开头。这占论文的25%。训ege者认为,普莱特涅夫在试图用钢琴演奏家的独奏来重现柴可夫斯基管弦乐谱的色彩和戏剧性的同时,普列特涅夫设法以最小的改动忠实地抄写了柴可夫斯基管弦乐的谱系。

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    Yang Vicky (Chia-Yi);

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  • 年度 2005
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