斯特拉文斯基《鋼琴奏鳴曲》(1924)的新古典主義特征及演奏分析_2321.pdf

1、rllIJIIIlllrflllJlllrlrrlllllffllflllllllllrrlly3259050學(xué)拉f℃nr：川7甘誕號：丁n牛f，：弓：II：5州州9J：夠一嶧范大學(xué)碩士專業(yè)學(xué)位論文斯特拉文斯基《鋼琴奏鳴曲》(1924)的新古典主義特征及演奏分析學(xué)院：置巫莖瞳專業(yè)學(xué)位類別：三盎塹：!：——專業(yè)領(lǐng)域；——盤盈研究生姓名：——童』盂岳指導(dǎo)教師：韭煎完成13期：——墊』Z生3目AbstractShanghaiNormalUni

2、versityMasterofPhilosophyAbstractInthe20thcenturypianomusic，Stravinsky’ScreationoccupiesaveryimportantpositionHiscreationhasgonethroughthreestagesThe“pianosonata”(1924)studiedinthispaperisproducedinthemidstofthecreationo

3、fStravinsky，withneoclassicalcharacteristicsThisarticleisdividedintothreechapters：thefirstchapteroftheauthorthroughthestudyofseveralneoclassicalrepresentatives，theneoclassicalcharacteristicsofasimplesummary，butalsothrough

4、themiddleoftheworkofStravinskyindepthstudy，summedupNeoclassicalFeaturesofStravinsky’SWorksInthesecondchapter，thewriterstudiestheneoclassicalismintheworksofthepianosonata(1924)，thepolyphonicwritingtechniqueandtheharmonyan

5、alysisInthethirdchapter，theauthoristhemusicscoreandStravinskibasicperformanceofthecombinationofrecording，toexploretheinterpretationoftheworkofthisworkKeyWords：Stravinsky；”PianoSonata”(1924)；neoclassicalism；performanceint