探究卡巴列夫斯基d大調(diào)第三鋼琴協(xié)奏曲“為青少年而作”op50及其教學(xué)價值

1、 學(xué)校代碼：10270 分類號：J61 學(xué)號：092200666碩 士 學(xué) 位 論 文 論 文 題 目 探究卡巴列夫斯基《D 大調(diào)第三鋼琴協(xié)奏曲“為青少年而作” 》Op50及其教學(xué)價值 學(xué) 院 音樂學(xué)院 專 業(yè) 音樂學(xué) 研 究 方 向 鋼琴演奏與教學(xué) 研究生姓名 魏江娜 指 導(dǎo) 教 師 葛世杰 完 成 日 期 2012 年 4 月Abstract Dmitri Borisovich Kabalevsky

2、(1904-1987) was a Russian composer, teacher and musical arts social activist. Most of his works expressed the major themes of contemporary society, helping to shape the image of the Soviet youth. In many of Kabalevsky

3、’s opuses created for young people, the tonality is fantastic and imaginative, simple and moving, fervent and lively. The music brims with the romantic enthusiasm and vitality of youth. Kabalevsky also founded his own mu

4、sic education philosophy, and implemented it both in the writing of musical pieces as well as in the music teaching programs of regular schools. Op. 50 Piano Concerto No. 3 in D major ‘Youth’, created in 1952, is a work

5、that reflects the composer’s teaching philosophy. As a piece of piano music for young children, its choice of theme is undoubtedly unusual, but it was chosen so as to enrich the performance forms children are exposed to,

6、 to promote the cooperation ability of musical performance, and to strengthen the conscious control to the opus. With regards to musical image and rhythmic pattern, this concerto embodies the educational concept of “thre

7、e whales”, which was proposed by Kabalevsky, otherwise known as the “three pillars” in general music education. With regards to play technique, in consideration of the target player, the entire piece requires a comprehen

8、sive use of basic techniques, without any exceptionally difficult sections. The purpose of this paper is to analyze the music body and performance form for the purpose of expounding on the value in children’s education o

9、f performance form, musical content and technique of this youth piano concerto. It is hoped that this text may inspire the piano playing educators of tomorrow, and that more musicologists could pay closer attention to ch