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贝多芬第三钢琴奏鸣曲(op.2 Nr.3)是贝多芬题献给他的老师海顿的三部奏鸣套曲中的最后一部,这是他个人风格形成的先(先视)现,也是他对奏鸣曲式结构扩张的开端。关于此乐章的曲式结构,国内外的音乐研究者有不同的解析版本,本人经过仔细分析研究,得出了不同于前辈们的结论 :此乐章的曲式结构属于边缘曲式,以循环原则为主,奏鸣原则为辅。这是贝多芬在钢琴奏鸣曲慢板乐章中首次打破常规,采用非规范化的边缘曲式,体现出他既创新又富有逻辑的结构思维和浪漫主义的倾向。
Beethoven’s Third Piano Sonata (op.2 Nr.3) is the last of Haydn’s three sequel to Beethoven’s contribution to his teacher, the first (first look) of his personal style, It is also his beginning of the expansion of the sonata structure. With regard to the music structure of this movement, domestic and foreign music researchers have different analytical versions. After careful analysis and study, I come to conclusions that are different from the predecessors: the music structure of this movement belongs to the marginal form and the principle of circulation The main sonata principle supplemented. This is the first time that Beethoven has broken the routine in his piano sonata’s adage and adopts non-standard marginal music, showing his tendency of both innovative and logical structural thinking and romanticism.