鋼琴演奏“指法設(shè)計(jì)”個案研究以勃拉姆斯間奏曲op.117no.1為例

1、南京藝術(shù)學(xué)院碩士學(xué)位論文鋼琴演奏“指法設(shè)計(jì)”個案研究--以勃拉姆斯《間奏曲》Op.117No.1為例姓名：黃歡申請學(xué)位級別：碩士專業(yè)：音樂學(xué)指導(dǎo)教師：徐軍；馮效剛2011-02-28IIIAbstract Brahms , whose works symbolize the thinking and emotion of Romanticism， is one of German representative composers in

2、the era respectively . The profundity and introspection of Brahms’ works is hidden in its plain expression. His later piano music creations are focused on piano works which are condense in form and profound in meaning. I

3、ntermezzo OP.117 is the masterpiece created during that period. Throughout Brahms’ lifelong creation of solo piano works, there are nineteen intermezzos, which are the major stereotype all through his life. Op.117 is the

4、 only work all consisted of intermezzos, thus it is inspiring entrance to the research of Brahms’ works. Fingering arrangement is not only concerned with the performance of the player, but also related with the expressio

5、n of music and the efficiency of exercise. Therefore, it should by no means be neglected. This paper makes a detailed analysis of the first piece of OP.117 from the perspective of fingering arrangement and puts forward a