李斯特晚期作品分析资料.docVIP

A Pioneer of Impressionist Music—The Analysis of the Later Works of Liszt 印象主义音乐的先声——李斯特晚期作品分析 As a pianist, composer, conductor, music educator and social activist in Hungary,Franz Liszt was one of the people whose businesses were most brilliant during the Romanticism period.Well known in the history of Western music, Liszt’s music ideas and practices were famous for originality and prospective , especially his later piano works were different from the past in quality.Today, I report on the topic of Liszt’s late piano works after the 1860s, while the focal point is his creation after the 1880s, with emphasis on analysis and research of harmony and musical form ,and compare his creative techniques with 20th century impressionist piano works. 匈牙利钢琴家、作曲家、指挥家、音乐教育家和社会活动家Franz Liszt是浪漫主义时期事业最辉煌的人之一。众所周知在西方音乐史上，Liszt的音乐创作思想与实践以原创性和前瞻性著称，特别是其晚期钢琴作品具有与以往不同的品质。今天，我报告的主题就以Liszt晚期——即19世纪60年代以后的钢琴作品为研究对象，而重心是其80年代以后的创作，重点在分析和研究和声与曲式，并将其创作技法与20世纪印象派的钢琴作品相比较。 From the early quest of virtuoso playing and the middle exploration of program music, to seeking solace in religious music later, the focus of Liszts musical career changed greatly.Comparing with the previous works,his later works were very different, the musical language became bitter, and used a series of unconventional techniques as a form of expression，which was not only relating to his courage to reform, respected and innovative musical ideas,but also connecting with Liszts ill-fated destiny. Consistent with the vast majority of romanticists , Liszt insisted the theory called heteronomy of musical aesthetic. Although this concept hadn’t been used as a special aesthetic terminology, most of the composers of this period considered that music performed something other than pure tone, the content of music was an expression of emotion. So most people with romantic ideals advocated subjective feelings of expression, full of love of nature and fantasy of the future. So whether they were virtuoso playing skills, or technique