奏鸣曲

基本解释 (translations)

sonata  ·  sonatas

与奏鸣曲相关的网络例句 [注：此内容来源于网络，仅供参考]

General sonata, the first movement is all used to beginning from the sonata form of the allegro, but Beethoven is here destroys this kind of convention completely on one, begin from the adagio movement directly, after second movement in the allegretto , advance by leaps and bounds get urgent finale of board.

一般的奏鸣曲，第一乐章都习惯从快板的奏鸣曲式开始，但是贝多芬在此曲上彻底破坏了这种惯例，直接从慢板乐章开始，经过稍快板的第二乐章后，突进到急板的终曲。

On the basis of the analysis of the scores, the author makes conclusions about the characteristics of Schubert"s last three piano sonatas as followings: 1 The device of universal development in the movements composed in sonata form and rondo-sonata form is the most distinctive feature in the last three sonatas, which is also decisive in the trend of the whole movement and makes the developments relatively "still". 2 In the device of themes, the method of irregularity is preferred. However, By using extension, abbreviation, repetition and further repetition of periods, Schubert brings those themes to ingenious balance in both architectonics and aesthetics. 3 Chain method is applied in the connection of themes, in which the previous material is taken as basis and then modified together with the variations of new materials. By this way, the theme is continuously developed. 4 The principle of the dominant-subordinate is followed in Schubert"s three-key exposition, and the process of each key is extended.

本文在详尽分析乐谱的基础上，对最后三首奏鸣曲的主要创作特点进行了以下总结： 1、奏鸣曲式和奏鸣回旋曲式乐章中展开的普遍化是最后三首奏鸣曲最为显著的特点，它决定了整个乐章的走向，并使展开部具有相对"静止"的特点； 2、舒伯特的主题写作中更喜欢运用非方整性写法，并通过自身材料的延长、缩减和重复或者更高一级的段落重复使其达到了结构上和审美上的巧妙平衡； 3、舒伯特喜欢用链式的主题贯穿方式，音乐以之前的材料为依据，经过变化后再加入新的材料，用这种方式不间断地发展； 4、舒伯特的三调呈示部遵循从主到属的总体原则，并扩展了调性历程。

There is usually a 3rd -key added in the opening of the second theme, and sometimes a new theme is composed. Then, the subordinate key is reached before the end of exposition. 5 Silence of one whole bar is frequently utilized, which not only brings profound expressive significance, but also is important to the architectonics of these sonatas. 6 The harmonization in the variation, which is the method of applying different keys to the same melody, is handled in those Andante movements. By this way, the same melody appears in variable colors of harmony, which can not only avoid dull repetition, but also keep the lyrical nature and the completeness of melody. 7 Chromatic method is applied in the periods of development, and chromatic深层线条becomes the provident feature in some periods of development. 8 Atlas motive is put to use in c minor and A major sonatas, and a lot of "sigh" tones and c sharp minor are both preferred in those three sonatas. 9 The emotional factor of "wanderer" is the roots of thoughts for the intense conflict of music.

他通常在副部的开始加入一个三度的调性，有时再加入一个新主题，最后在呈示部结束之前到达属调； 5、较多地运用整小节的休止，使其不仅具有深刻的表情意义，而且在结构乐曲中起到了不可或缺的作用； 6、舒伯特在慢板乐章中运用同一旋律异调配置的和声变奏方式来构成音乐的段落，使同一个旋律在不同的和声色彩里闪现，既避免了单调的重复，又保持了旋律的抒情性和完整性； 7、展开的段落中习惯运用半音化的发展手法，半音阶式的深层线条成为某些展开段落的显著特点； 8、c小调和A大调奏鸣曲中都运用了"阿特拉斯"动机，三首奏鸣曲中运用了大量叹息的音调，并倾向于~#c小调的运用； 9、"流浪者"的情感因素是音乐强烈冲突的深刻思想根源。

Based on Mozart's opera genius, this paper used the methods of researching on "19 Mozart Piano Sonatas", as well as the three major Mozart opera scores:"The Marriage of Figaro","Don Juan" and "The Magic Flute" and DVDS. Through a comparative analysis between his opera and piano sonatas I can find a large number of elements of his opera, such as aria, recitativ, quartet, chorus, decorative colorature and strong conflicts of paragraphs from the summary Mozart's Piano Sonatas in a dramatic factor.

基于莫扎特的歌剧天才，本文立足于对《19首莫扎特钢琴奏鸣曲》的乐谱研究，以及对莫扎特三部重要歌剧：《费加罗的婚礼》、《唐璜》、《魔笛》的总谱及音响资料的剖析，对这种体裁进行比较分析，可以从他的钢琴奏鸣曲中找出大量具有歌剧咏叹调、宣叙调、重唱、合唱、花腔装饰以及强烈戏剧冲突性段落，从中总结出莫扎特钢琴奏鸣曲中所具有戏剧性的因素。

The only known published instrumental chamber music by him, two collections of twelve trio sonatas modelled on Corelli were published in 1693 and 1699 as Opus 1 Sonata da chiesa and Opus 2 Sonata da camera .

唯一已知的发表他器乐室内乐，两名12三人在科雷利蓝本奏鸣曲集发表在1693年和1699年的作品1奏鸣曲基耶萨和 Opus 2奏鸣曲相机。

Come the main body of a book to be analysed the body drawing support from Beethoven sonata fair amount of confidence face material and document material such as music aesthetics , the science of history , philosophy , complying with music and study Beethoven sonata dramaticism characteristic cause of formation and concrete technique of expression.

本文借助贝多芬奏鸣曲的谱面材料以及相关文献材料，着重从音乐的本体来分析和研究贝多芬奏鸣曲的戏剧性特征的成因以及具体的表现手法。

D958, D959 and D960, which are the last three piano sonatas composed by Franz Schubert, are investigated in this thesis. Firstly, a survey of Schuberts piano sonatas is made in this paper.

本文的主要研究对象是舒伯特的最后三首钢琴奏鸣曲，即《c小调钢琴奏鸣曲》(D958)、《A大调钢琴奏鸣曲》(D959)和《~bB大调钢琴奏鸣曲》(D960)。

Through a detailed introduction and description about the style and the technical feature s of the classical sonatina the article trys to give a reference to a comprehensive understanding about the artistic value of the classical sonatina,so that man can annotativ the artistic intension of the classical sontina of the classical sonatina better on the modern piano.

文章通过对古典小奏鸣曲风格特征和技术特征的详细介绍，为全面理解古典小奏鸣曲的艺术价值，更好地在现代钢琴上诠释古典小奏鸣曲的音乐内涵作出参考。

The first part elucidates the origin of the term sonata and the relationship between the early sonata and other contemporary instrumental music genres, pointing out the fact that the intertwining and mixing among sonata, canzona, sinfonia and concerto was caused by the obscure defining and distinguishing of different music genres. Since they overlapped in many aspects such as composition and performance, they were often confused with each other in actual practices.

第一部分阐述了奏鸣曲这一术语的起源以及早期奏鸣曲与同时代其它器乐体裁之间的关系，指出奏鸣曲与坎佐纳、交响曲、协奏曲之间的交错与混合在于体裁本身及体裁之间尚未形成明确的界定，它们在创作手法、演奏形式等方面存在着重合，因而在实际运用中经常被混同。

His large chamber-music output included four string quartets, two string sextets, two string quintets, three piano quartets, three piano trios, three violin sonatas, two cello sonatas, and two clarinet sonatas.

他的大型室内乐作品有四首弦乐四重奏、两首弦乐六重奏、两首弦乐五重奏、三首钢琴四重奏、三首钢琴协奏曲、三首小提琴奏鸣曲、两首大提琴奏鸣曲以及两首单簧管奏鸣曲。

与奏鸣曲相关的网络解释 [注：此内容来源于网络，仅供参考]

Deploration,Tres anime：奏鸣曲《迪普勒瑞森>

09奏鸣曲> Scherzo,Tres anime | 10奏鸣曲> Deploration,Tres anime | 11田园曲 Pastorale

Sonata：奏鸣曲

关于"奏鸣曲"(Sonata)这术语,如果看一看葛罗夫音乐词典,便可以了解,它是不可能用少数几句话能够说明的. 早期的奏鸣曲可以确切地说也是包括几个乐章的. 它们是由二部形式或三部形式作成,虽然在风格或节奏方面不尽相似,

Sonata：奏鸣曲 奏鸣曲

奏鸣曲(zoumingqu)一译"朔拿大奏鸣曲 奏鸣曲 (Sonata)是种器乐音乐的写作方式,此字汇源自拉丁文的sonare ,即发出声响. 在古典音乐史上,此种曲式随著各个乐派的风格不同也有着不同的发展. 奏鸣曲的曲式从古典乐派时期开始逐步发展完善.

Autumn Sonata：秋天奏鸣曲/秋日奏鸣曲

.哭泣与耳语/呼喊与细语/在细雨中呼喊/Cries and Whispers | .秋天奏鸣曲/秋日奏鸣曲/Autumn Sonata | .排练之后/排演之后/After the Rehearsal

DVORAK:Sonatina：德伏扎克:小奏鸣曲

04. 舒曼:>SCHUMANN:Traumerei | 05. 德伏扎克:小奏鸣曲 DVORAK:Sonatina | 07. 帕格尼尼:第十二奏鸣曲 PAGANINI:Sonata No.12

Viola da gamba sonatas：古大提琴奏鸣曲

大提琴无伴奏组曲 Cello Suites | 古大提琴奏鸣曲 Viola da gamba sonatas | 长笛奏鸣曲 Flute Sonatas

Violin Sonatas：小提琴奏鸣曲

他一共创作了9首编号交响曲(Symphony)、35首钢琴奏鸣曲(Piano Sonatas)(其中后32首带有编号)、10部小提琴奏鸣曲(Violin Sonatas)、16首弦乐四重奏(String Quartet)、1部歌剧(Opera)、2部弥撒、1部清唱剧与3部康塔塔(Cantata),

Trio Sonatas：三重奏奏鸣曲

长笛奏鸣曲 Flute Sonatas | 三重奏奏鸣曲 Trio Sonatas | 鲁特琴组曲 Lute Suites

Sonatas and Partitas, for Solo Violin：为独奏小提琴而作的奏鸣曲与组曲

为古钢琴而作的奏鸣曲 Sonata for Clavichord | 为独奏小提琴而作的奏鸣曲与组曲 Sonatas and Partitas, for Solo Violin | 小提琴奏鸣曲 Violin Sonatas

Scarlatti Sonata Class：史卡拉第奏鸣曲组

史卡拉第奏鸣曲组 Scarlatti Sonata Class | 第6组 Class No. 6 | 史卡拉第任何两首奏鸣曲 Scarlatti any two sonatas