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dc.contributor.author李易真en_US
dc.contributor.authorYi-Chen Leeen_US
dc.contributor.author楊建章en_US
dc.contributor.author陳建安en_US
dc.contributor.authorChien-Chang Yangen_US
dc.contributor.authorJian-An Chenen_US
dc.date.accessioned2014-12-12T02:49:09Z-
dc.date.available2014-12-12T02:49:09Z-
dc.date.issued2005en_US
dc.identifier.urihttp://140.113.39.130/cdrfb3/record/nctu/#GT009246506en_US
dc.identifier.urihttp://hdl.handle.net/11536/77422-
dc.description.abstract本文以米亞斯可夫斯基的第一號大提琴奏鳴曲,作品12為研究範圍,從作曲家的「早期風格」探討此奏鳴曲的演奏詮釋。透過二十世紀初期俄羅斯當代音樂發展概況與米亞斯可夫斯基的生平與背景介紹,以及奏鳴曲的分析,探究米亞斯可夫斯基的早期風格,瞭解作曲者之個人音樂語言以及其所欲傳達的意念,尋求此曲合適的詮釋方法。zh_TW
dc.description.abstractThis paper is focused on Nikolai Yakovlevich Miaskovsky’s Sonata for Cello and Piano, op.12 (1911). The Sonata exemplifies Miaskovsky’s exploration of modernism with an inclination toward late romantic traditions. This paper discusses the aesthetic origins and compositional philosophy of Miaskovsky’s early style in the first decade of the twentieth century. In particular, this paper shows his struggle to establish a personal musical style and demonstrates his remarkable craftsmanship, accompanied with a detailed analysis of the stylistic practice and musical structure.en_US
dc.language.isozh_TWen_US
dc.subject米亞斯可夫斯基zh_TW
dc.subject俄羅斯現代主義zh_TW
dc.subjectMiaskovskyen_US
dc.subjectModernismen_US
dc.title李易真大提琴獨奏會(含輔助文件:前衛或傳統?米亞斯可夫斯基之風格與俄羅斯現代主義的融合:以第一號大提琴奏鳴曲作品十二之分析與詮釋為例)zh_TW
dc.titleYi-Chen Lee Cello Recital (with a supporting paper: Modern or Traditional ? Miaskovsky's Mixing Style in Light of Russian Modernism:Analysis and Interpretation of Sonata No.1 for Cello and Piano, Op.12)en_US
dc.typeThesisen_US
dc.contributor.department音樂研究所zh_TW
Appears in Collections:Thesis


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