肖邦

The programs provide some idea of the richness of Parisian artistic life during this period, such as the concert on March 23, 1833, in which Chopin, Liszt and Hiller played the solo parts in a performance of Johann Sebastian Bach's concerto for three harpsichords, and the concert on March 3, 1838, when Chopin, Alkan, Alkan's teacher Pierre Joseph Zimmerman and Chopin's pupil Adolphe Gutman played Alkan's 8-hand arrangement of Beethoven's 7th symphony.

节目表现了当时巴黎艺术生活的丰富多采，比如：1833年3月23日的音乐会上，肖邦、李斯特和希勒表演了JS巴赫三大键琴协奏曲的独奏部分，1838年3月3日的音乐会上，肖邦、Alkan、Alkan的老师Pierre Joseph Zimmerma和肖邦的学生Adolphe Gutman演奏了Alkan改编的贝多芬第七交响曲八手联弹版。

The first one and the eleventh one are concentrate to the tensibility of finger,the second one are famous of it"s fingering techri-ique which is the typical fingering of Chopin,the third and six one are experience the layer of multi voice parts,the fourth one is difficult at it"s sharp-- pointed music proceeding and the fifth one are playing almost all black keys,humorousness is performance in the bass field in the eighth one,the ninth and the twelfth one are training stretching and running technique of left hand,harmonic innovate are visibly reflected at the seventh,the tenth and the eleventh one.

在分析其技术特征的同时，为了体现肖邦钢琴语汇的实用价值及练习的目的性，还采用对比比较分析的方法，有针对性地列举谱例，比较肖邦练习曲及其与肖邦其他钢琴作品典型技术课题的对应关系；还在演奏技术方面稍作探讨并在艺术性与美学方面略有探究，论述了肖邦练习曲的音乐个性和宝贵练习价值。

It explains separately the skills of the deviating from the key and modulation,the overlapping and interlacement of tune in deviating from the key and modulation to Chopin's《Polonaises》.Chapter three dissertates skills of a chord interlacement,and expending and appreciation about function of the chord subordinate in the《Polonaises》.

在肖邦《波兰舞曲》离调与转调技法中，对离调技法与转调技法，调性的重叠、交错分别进行阐述；第三章对肖邦在《波兰舞曲》中的和弦交织、下属功能的扩展与升值技法展开论述；第四章则是肖邦《波兰舞曲》的和弦外音、半音和声技法。。。

This article from analyzes the Polish nationality music, analyzes Chopin's piano music creation style and the Masurium Zuka creation, analyzes the Chopin music the national characteristic three aspects to obtain, further studies and studies Chopin's Masurium ancestor card music.

这三种舞曲的特点往往混合在一起构成肖邦的玛祖卡，结构上多是对称性乐句构成的三段形式。钢琴织体简单朴素。本文从分析浪漫主义时期及波兰民族音乐入手，到简述肖邦的生平及其钢琴音乐创作风格及玛祖卡的创作，分析肖邦音乐演奏应注意的问题四个方面入手，进一步学习和研究肖邦的玛祖卡音乐。

Chopin"s music creations have a lot of related with his living environment and the process of his growth.So in this part, we look of Chopin"s life firstly, then we will discuss the romantic and the revolution of realism characteristics with his several stages of life. and the change of his creations style from the earlier period grace, gorgeous to the more deeper emotion. The second part carried on more detailed treatise to Chopins creations background and art characteristics of various form in music work just like Mazurka, Polonaise, Waltz, Etude and so on!

肖邦的音乐创作与其生活环境、生长历程密切相关，因此在这一部分首先回顾了肖邦的生平，然后结合他成长的几个阶段从纵横两个方面(按年代先后次序和按体裁的分类)探讨了肖邦音乐创作的浪漫主义和革命的现实主义相结合的特点，及其创作风格从早期优雅、华丽但思想深度较浅逐渐向情感更深刻、气势更磅礴、爱国主义思想更成熟的转变。

In music structure, through the contract of the musical form structure of this work and the typical classical concerto musical form structure, it summarized the inheritance of classicism concerto structure and the personalized innovation of national style of this work, and emerged Chopin"s inheritance in concerto creation and his innovative spirit in this area. In melody, by centering the elaboration on the vocal and colorful melody, it fully displayed Chopin"s unique artistic style and distinct romanticized characteristic in melody creation. In rhythm, with the analysis of the third music movement"s rhythm, we could learn the rhythm of mazurka which penetrated the entire music movement and which had typical Poland national characteristics, the national characteristics of the work, and the primary form of characteristic rhythm. Furthermore, it revealed the national essence and the origin material in Chopin"s works. At last, in harmony, from the aspects of linearity and the sound thought of semitone, the counter-function harmony proceeding in breaking traditions, the harmony technique in function-extended, the charm in detuned chord, the blending of sound rhythm and music situation, it analyzed and summarized the distinct romanticism in harmony arranging in the work.

音乐结构上，通过作品曲式结构与古典协奏曲典型曲式结构的对比，总结作品对古典主义协奏曲结构的沿袭和民族风格的个性化创新，展现了肖邦在协奏曲创作的继承和创新精神；旋律上，主要围绕作品旋律的歌唱性和色彩性进行论述，充分展现肖邦在旋律创作上独特的艺术风格和鲜明的浪漫主义特征；节奏上，通过对第三乐章的节奏分析，展现了贯穿整个乐章的具有典型波兰民族特色的玛祖卡节奏，阐述作品的民族特色，并追溯特征节奏的原形，进一步揭示肖邦创作的民族本质和素材来源；和声上，从半音化的线性和声思维、突破传统的反功能和声进行、功能延伸式的和声手法、音阶化的转调模进手法、离调和弦的色彩魅力等几个方面入手，分析和总结了作品在和声运用上新颖、鲜明的浪漫主义特色。

In this article, I trace back the history of nocturn and make analysis to his OP.9, then discuss how Chopin succefully inherited from tradition while carrying forward this style at the same time.

本文通过对肖邦夜曲的追溯和肖邦夜曲OP.9的一组作品的分析，来探讨肖邦在继承传统的同时如何将夜曲这一体裁发扬光大。

The second part of the paper introduces "the background of Chopin"s creation of piano Etude. Then through the comparison of his and the people of his time or before on Etudes, the paper concludes that Chopins" has broken the traditional meaning on this genre. In the end, the paper analyses how Chopin"s Etudes combine art with technique, through three aspects: synthetical melody and technique, colorful harmony and technique, and singular piano and technique.

第二部分首先简要介绍肖邦钢琴练习曲的创作背景；接着通过肖邦练习曲与他之前和同时代的作曲家的练习曲的比较，说明肖邦的练习曲已突破了这一体裁的传统意义；最后从三个方面：综合的旋律特征和技术的结合、丰富的和声风格和技术的结合、独特的钢琴织体和技术的结合，来阐述肖邦练习曲是艺术性和技术性的有机结合。

This article takes Chopins as the object to study, carrying on the elaboration in 4 chapters. The first chapter mainly introduced Chopin and his concerto. It induced and discussed the origination of Chopin's creative inspiration as well as different styles of piano music in different times by elaborating his biography and his creations. Furthermore, this paper analyzes the background of from the society, the culture and the reality three aspects separately.

本文以肖邦《f小调第二钢琴协奏曲》作为研究对象，分四章进行论述：第一章主要是对肖邦本人和肖邦的协奏曲进行了概括式的介绍，通过对肖邦生平及创作的阐述，归纳和探索了肖邦创作灵感的来源以及不同时期钢琴音乐的不同风格；另外，论文分别从社会、文化和现实三个方面分析了《f小调第二钢琴协奏曲》的创作背景。

"Actually, Chopin doesn't need to be promoted, but we hope that Poland and Polish culture can be promoted through Chopin," said Monika Strugala, who is coordinating the Chopin 2010 program under the aegis of the Fryderyk Chopin Institute, a body set up by the Sejm in 2001 to promote and protect Chopin's work and image.

此次负责此次&肖邦年&活动协调工作的莫妮卡·Strugala表示：&事实上，虽然肖邦名誉全球，但是我们还是希望通过宣传肖邦来推广波兰和波兰文化&。此次活动是由费雷德里克·肖邦研究会主办的。肖邦研究会是由波兰议会设立的一个政府组织，旨在宣传和保护肖邦的音乐作品及形象。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。