论古典乐派与浪漫乐派的异同.doc

论古典乐派与浪漫乐派的异同.doc 论论论论论论论论论论论古典派与浪漫派的异同 崔昕 工科信息1030班 学号3100104204摘要,浪漫乐派是由古典乐派乐展而～多乐格也是一相承的。由于乐派都来很脉两个 受到了新思想的影～于是都以乐歌人的精神和反映自然界的美乐主旨～二者响既 有相似之乐～又有大差。浪漫乐派是古典乐派的乐承乐展很异与。 乐乐乐,古典乐派 浪漫乐派 交曲 无乐歌响 在西方音史河中,有两个一脉相承的派,乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐他不着力于展音本身的和技法,而且着乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐 力表人的思想和情感,那便是古典派和浪漫乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐 派。浪漫派古典派既有承,又有展,有多异同点。乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐一、古典派与浪漫派的史背景论论论论论论论论论论论论 古典派生于乐乐乐乐乐18世中后期,个期正欧洲社会大革,无从、乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐政治是思想文化方面,欧洲社会的迁都音的展起到了一定程度上的乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐促作用。当正欧洲启蒙运的盛期,具有思的思想家提出了乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐“乐自 由、博、平等、人、理性等新口号,形成了一个完”“乐”“”“乐”“”乐乐乐乐乐乐乐乐乐乐 整的思想体系。也古典派的生也大大受到了思乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐想运的洗礼。因此,古典派的音中充了乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐和、雅、平衡、一。乐乐乐乐乐乐乐乐乐乐乐 而浪漫派出在古典派之后,源自浪漫主。浪漫主运于乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐18世下半叶起源于文学,乐乐乐乐乐乐乐乐乐乐19世上半叶在文学中已达到鼎乐乐乐乐乐乐乐乐乐乐乐乐盛,并漫延到其他域。音史上的浪漫主代大致包括乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐1820——1910年近一个世。浪漫主反崇拜理性,歌本能和情感。与古典主客乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐地待生活相反,浪漫主以主的角度感受事物。梭:乐乐乐乐乐乐乐乐乐“乐乐乐乐乐乐我和我的 所有人都不同与歌里人称代……”乐乐“”乐乐乐乐乐乐乐乐乐我大量出一,作曲家也 努力地掘着自我。他往往与作品融一体。浪漫主乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐 的情感主在文学的抒情所洋溢出的激情中得到体,乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐而浪漫主音的抒情旋律和和声,更直接地人乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐的情感。同,浪漫主代作曲家的社会地位和社会 功能生了巨大的化。法国大革命致了封建廷的乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐 衰落,也就摧了欧洲延了几百年的音保。音家脱毁乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐了廷附庸的地位,他必面向音会的广大听众和音乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐 乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐好者的需求,他必与出版商打交道。他在一解 放程中,也失去了在社会中明确的地位。无常的生活常使他陷入乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐或在精神上于离社会人群的孤独境地。,他乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐便始用音来表达理想与之的矛盾,并通生乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐 与死、孤独与情、大自然等抒情材,表达出知乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐分子生活的不,自由、幸福的向往和乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐求。渴 不同的史背景,使得古典派和浪漫派在方乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐 方面面都烙上了不同的代的印。乐乐乐乐乐 二、古典派与浪漫派的异同论论论论论论论论论论 正是由于不同的史背景,使乐乐乐乐乐乐古典派与浪漫派无是在乐乐乐乐乐乐乐乐乐乐乐体裁上是内容、形式上,都是既有系,又有差异的。乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐 1. 音体裁方面乐乐乐乐乐 古典派奠定了交响曲、四重奏、奏曲、奏曲等体裁形式,使之更完乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐善、更范。乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐例如,交响曲是在海期定型的,奏曲在古典派期有了新的展,形成了乐“乐”乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐独奏奏曲,海、莫扎特、多芬都有大量的奏曲作品,奏曲的曲式从古典派期也始乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐展完善。步逐 而浪漫派材乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐空前广泛,不承了古典派的 四体裁形式,出了无歌、乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐夜曲、歌曲、叙事曲、交响等新、致的形式。由乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐德松立的 无歌是浪漫派与古典派的分乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐水。同浪漫主期的交响曲有一定的展,乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐比如,内容具有文学性、性,曲式乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐构更自由,章数目不定等,以舒伯特、柏乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐、李斯特、勃拉姆斯等作曲家的作品代表。 以一个有的作品乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐例,如德松写的管弦序曲《仲夏夜之梦》,它不是用音去乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐准确地翻文学,而是作曲家的独。乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐部曲是他在名著之后的感想,如果翻翻莎士比乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐的本,众多的人物系以及是很的,而乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐德松跳出来,将他印象最深的人物、情、形象合乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐在一个非常完美的奏曲式里面,同又有自己的独特乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐理。引子和尾就一个精致的画框,整部曲子就像一幕乐乐乐乐乐乐乐乐乐乐乐乐乐乐一个,而仙女的主每嵌在奏曲式的部分,主部和副部主都是多乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐素材的,生的音可以人想到中的乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐城堡、情人、机灵的小仙和成乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐的工匠等,便音予了明的主,使音符得有灵魂和思想。 2. 音形式方面乐乐乐乐乐 浪漫派乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐突破了古典音均衡完整的形式构的限制,有更大的自由性。古典派期的音乐乐乐乐乐乐乐乐乐乐乐乐乐注重的是形式与,乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐它注重表出形式上客的美感。浪漫派是打破旧有的形式和定,期的作曲家,音的主乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐要功能是反出他的情感,形式乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐只是一表达的媒介,所以当就形式不足以乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐足需求,他就任意的去改,使曲更自由、不受乐乐乐乐乐乐乐乐乐乐束。 3. 音内容方面乐乐乐乐乐 古典派的音作品受到当启蒙运思乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐潮的影响,以歌人的精神和反乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐映自然界的美主旨,而浪漫派在承古典派思想的同,更着力于表达乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐理想与之的乐乐乐乐乐深刻矛盾。下面分乐乐乐乐乐乐乐乐乐乐乐乐析古典派的代表作G大乐乐乐乐乐乐乐第九十四交响曲《惊愕》和浪漫派的代表作乐乐乐乐乐乐e小小乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐提琴奏曲在内容方面的差异。 G大乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐第九十四交响曲《惊愕》,是奥地利作曲家海的作品。据海写此曲的目的是了乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐嘲笑那些坐在包中的音不懂装懂,而又附庸雅的乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐人,故意在第二章中安祥、柔和的弱奏之后突然加入一个全合奏的很强的旋律。乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐演出中,当演奏到那段旋律,那些人果然从睡梦中惊醒,以生了乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐什重大的事情,甚至想逃出,部交响曲因此而成名,于是后人也就此曲乐“”乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐惊愕冠以的。部交响曲是海最著名的古典交响曲之一,它充分体了古典派的乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐比思想。在作品的第二章也就是著名的“”乐惊愕章中,以一段安祥柔和的慢乐乐乐乐乐乐乐乐乐乐乐乐乐奏始,主由小提琴柔的奏出,声,乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐仿佛一首催眠曲将听众入了梦,在用极弱奏乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐述主之后,力和旋,从而使听众之立即接上强全奏的愕然。乐乐一部分体了古典派乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐比的思想,在奏、旋律上都形成了 强强烈的反差,增了乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐效果,听众留下了深刻的印象乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐便充分体了古典派的特点,即不依照定的章法,着力于乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐美的音本身,而且注人的感受,体人的思想。 e小小乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐提琴奏曲是德国浪漫派作曲家德松的作品。德松以古典派乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐“乐乐乐乐多基芬,并灌入新代的气息的典型作。英国音家本奈特:小提琴乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐奏曲,本上是英雄的,男性的,德松的小提琴奏曲,本上是美的,女性的。如果将前者比乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐” 乐乐部奏曲中的当,那后者就是夏娃了。作品就是典型的“”乐乐乐乐乐乐乐乐乐乐乐夏娃式作品,全曲充了柔美的浪漫情和均匀乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐整的形式美,小提琴的理手法精妙。曲 所乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐造的氛,而感,而梦幻,而主柔美乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐而抒情,犹如清新的海吹拂,而又有回般的平静,乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐而又活起来,光的,略皮得像一个快的天使。整部作品,用不同的音形乐乐乐乐象,抒情旋律和和声,很直接乐乐乐乐乐乐乐乐地将人的情感乐乐乐乐表了出来,充了浪漫主的思想。乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐 通以上的分乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐析两部作品就可以,在内容方面,前者更注重用音来反乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐映人普遍的思想要求,他追求美的乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐格念的、高雅,予人向上的取精强神,但着力点仍是音本身。后者重在表人的情感、乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐情,乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐它与理想的矛盾更自由的表达了出来, 音在浪漫主大的乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐手下,不只是一的, 更是一生命的思乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐考方式,他把人的思想情感通音表达了出来。三、古典派与浪漫派的承与展论论论论论论论论论论论论论 乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐多芬在两个派的展中做出了重要的献。“乐”乐乐圣多芬,既是古典派的代表,同也浪漫派之乐乐乐乐乐乐乐乐乐乐乐先河,九部不朽的交响曲是最能体浪漫乐乐乐乐派与古典派是一脉相承的。乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐比如《命运交响曲》,充分运用了乐乐乐乐乐乐比的表乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐手法,将柔弱的人与大的命运作明比,符合古强典派乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐比的思想特征,《惊愕》在表手法上有相似之。同,曲反乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐映了与理想的深刻矛盾,充分展了人不乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐屈服的精神,与浪漫主的格相似。可乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐,浪漫派与古典派是一脉相承的,都音 乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐予了明的形象,着力表了人的意志,音的气不可阻乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐示,一出人步强民黑暗的意志和必信念。 乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐多芬之后的浪漫派作曲家都是,通生与死、孤独 与情、大自然等抒情材,表达出知分子乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐 乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐生活的不,自由、幸福的向往和求。浪漫渴 派的音家一乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐般偏重于幻想的材与着重抒主的 内心感受,因而抒古典派乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐某些形式的限制,使音作得到新的展。 乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐上所述,基于特定的史背景和音展的段,浪漫乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐派承了古典派的很多格、特征,并有所新和展,因此,两大派是一脉相承的,都是西方音史上不乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐乐朽的丰碑。参献考文, 《西方音乐史略》松乐 文化乐乐出版社 叶1990年 《洲音乐乐史》乐仁康 高等育出版社 欧教1991年 《乐乐也乐古典乐派的音乐乐作》曹乐峰 沈乐范大出版社 阳学2002年 《乐代乐派的大乐》邵乐强 乐乐乐 河北育出版社 教2004年 《音乐欣乐素乐育》乐乐 湖南文乐出版社 与教吴1996年 《古典音乐》 石映 高等育出版社 学教1998年 《西方音乐欣乐》 乐瑟夫?乐克利斯 高等育出版社 教1998年 《海乐的乐琴奏乐曲》朱雅芬 乐琴乐乐 2002年 《乐乐多芬九部交曲的乐作特征》 乐乐 河北大出版社响霍学2005年 《音乐作品分析程》乐仁康 乐亦平 上海音乐出版社 教2003年 《曲式作品分析》祖强 人民音乐出版社 与吴2003年 《乐德乐松无乐歌》乐德乐松 上海育出版社 教2005年