论音乐作品的音响呈现方式——通过不同钢琴家对莫扎特第十首钢琴奏鸣曲(K330)演奏的比较研究

【作者】 蒋存梅；

【导师】 韩锺恩；

【作者基本信息】 中国艺术研究院 ， 音乐美学， 2001， 硕士

【摘要】 在传统意义的音乐表演中，音乐作品的音响呈现方式是一个关键的环节，因为它是造成音乐表演之所以不同的根源，同时，也正是由于音响呈现方式的不同，才体现出音乐表演艺术的不可重复性，从而充分展示了音乐艺术的无穷魅力。 本文以音乐作品的音响呈现方式为论述中心，借鉴民族音乐学直接面对具体音乐事象的研究方法，直接面对实际发声的音响，以莫扎特第十首钢琴奏鸣曲（K330）为个案，通过霍洛维兹、古尔德（两次录音）、阿劳、黑布勒、希夫的演奏录音对他们的音响呈现方式进行全方位的比较。 在第三、第四章中，以上文音响比较为基础，通过音乐作品的书面文本（乐谱及相关背景资料）以及表演者的个体因素两个方面进一步论述音响呈现方式生成的原因。一方面，由于乐谱在标记音响呈现方式方面存在的空缺性和多义性以及音响呈现方式与特定音高节奏组合之间的从属关系，因此，对特定音高节奏组合的接受理解成为获得合理音响呈现方式的前提；另一方面，对接受活动而言，接受者个体因素的参与是不可避免的。在音乐表演中，也正是表演者个体因素的参与，使得表演者能够在特定音高节奏所暗示的音响呈现方式的可能范围中建构一种与自身个体因素相符的音响呈现方式；同时，由于不同的表演者个体因素存在着某些相似，相应地，必然导致不同音响呈现方式之间的部分相似。因此，特定的音响呈现方式的生成都是乐谱与表演者主体共同作用的结果。 在第五章中，本文通过音乐作品和表演者主体两个视角从理论上论述多种音响呈现方式的合理性，而且认为，如果某种音响呈现方式是建立在特定音高节奏组合基础之上，处于特定音高节奏组合所暗示的音响呈现方式的范围之内，同时，这个音响呈现方式的变化幅度又是处于相应审美群生理心理可接受的范围之内，那么，这个音响呈现方式就是合理的。本文在最后指出，任何一种合理的音响呈现方式的生成都是表演者对乐谱及对自身发掘的结果，它体现出乐谱与表演者之间的协调统一，同时，正是通过每一次的发掘，音乐作品的意义得到最大的实现，音乐艺术的美也得到最大限度的挖掘。更多还原

【Abstract】 In a classical sense of music performance, sonic showing manner is a crucial link, which is a cause to make every music performance of the same music work different. And it is the different sonic showing maimers that embody the unrepeatability of music performance that fully presents the inexhaustible music artistic charm. Centralized by discussing the sonic showing manner of music work, the article uses the experience from ethnomusicology applying it to face the real sound directly, and taking Mozart抯 Piano Sonata K330 as an example to do a thorough comparison between the sonic showing manners of Vladimir Horowits, Glenn Gould, Claudio Arrau, Ingrid Haebler and Andras Schiff according to their performance recordings. Based on the above comparison, the article continues to discusses the forming reason of sonic showing maimers in chapter 3 and 4 from the aspects of written text of music and individual factor of the performer. For one thing, the score can not definitly mark sonic showing manner, thus resulting in its vacancy and multiple meanings, and the sonic showing manner is subordinated to the combination of given pitch and rhythm, therefore, to accept and comprehend the combination of given pitch and rhythm becomes a premise of obtaining a reasonable sonic showing manner. For the other thing, talking about the acceptance activity, it is inevitable for an acceptor to participate in a practise of acceptance and comprehension with his/her individual factor. Yet it is the participation of individual factor of a performer that makes him/her obtain a reasonable sonic showing manner within the possible range that combines the hinted given pitch and rhythm in the coincident way of his own. In the meantime, similarity of individual factor of the performer results in some parts of similarity of sonic showing manner. So, the forming of sonic showing manner is a result of joint action of the score and individual factor of the performer. In chapter 5, the article discusses the reasonableness of diverse sonic showing manners in term of theory from both the side of music work and the side of individual factor of the performer, and make a conclusion by saying: if the provided sonic showing manner is based on the combination of specific pitch and rhythm and is within the range of the hinted combination of specific pitch and rhythm, and its varying scope also is accepted by the physiology and psychology of the appreciators, the sonic showing manner is reasonable. In the end, the article points out that any forming of reasonable sonic showing manner would be a result of which performers excavate the score and their own individual factor, it also embodies the unity of the performer and the score. And it is through every excavation that the meaning of the music work would be realized in a greatest degree and the music charm would be vastly presented.更多还原