贝多芬

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。

And like his contemporaries they will be puzzled by getting from him not merely a music that they did not expect, but often an orchestral hurlyburly that they may not recognize as what they call music at all, though they can appreciate Gluck and Haydn and Mozart quite well.

象贝多芬同时的人一样，虽然他们可以懂得格鲁克和海顿和莫扎特，但从贝多芬那里得到的不但是一种使他们困惑不解的意想不到的音乐，而且有时候简直是听不出音乐的由管弦乐器发出来的杂乱音响。

He set Beethoven to work on counterpoint, using the standard text book, Fux's Gradus ad Parnassum (1725), but Beethoven complained that he was not making any progress because Haydn was much too busy to correct the exercises properly and it seems that for that year the composer Johan Schenk secretly helped Beethoven with the exercises, even going so far as to get Beethoven to copy out any corrections in his own hand so that Haydn would not realize what was going on.

他让贝多芬学习复调音乐，采用标准的教材，弗克斯的《艺术津梁》（1725），但贝多芬抱怨自己没有取得任何进步，因为海顿太忙，不能恰当地纠正练习中的错误；在这一年，似乎是作曲家约翰·尚克暗中帮助贝多芬进行练习，甚至到了让贝多芬把修改的错误自己抄写出来的地步，这样海顿就不会意识到所发生的事情。

The introduction deals with these pieces composed before Beethoven so as to get the conclusion about the historical background of how specific color of C minor came into being. Chapter One studies three C minor piano pieces composed by Beethoven (Sonata No.5, Sonata No.8, Piano Concerto No.3), analyzes these first movements in detail from the perspective of the binary conflict, dotted rhythm, diminished seventh chord and the use of repeat notes. Chapter Two focuses on the similar backgrounds concerning compositions, general idea, theme design, heroic characters, etc. All of these characters could explain that how Beethoven understood and used the to...更多nality of C minor.

随后选择贝多芬1800年之前创作的三部C小调钢琴作品(《第五钢琴奏鸣曲》、《第八钢琴奏鸣曲》、《第三钢琴协奏曲》)进行研究，并着重第一乐章，从二元冲突、附点节奏、减七和弦、重复音的运用等方面进行具体分析，归纳三部作品在创作背景、总体构思、主题设计、英雄性格等方面的相似之处，从而解释贝多芬对C小调调性的理解与运用以及这三部作品对贝多芬英雄主义风格形成的影响。

; a Violin Concerto; the Pathétique, Moonlight, Appassionata, and Hammerklavier piano sonatas; and the bagatelle Für Elise

贝多芬出生于515bongasse、德国波恩贝多芬面包车至约翰(1740至1792年)；马格达莱纳keverich面包车和贝多芬于1770年(1744至1787年)。

In 1800 Prince Lichnowsky settled an annual salary of 600 florins on him, which was to be continued until Beethoven found a permanent position paying more.

当年轻的伯爵夫人约瑟芬和塞利斯·范·布伦斯维克1779年从匈牙利来到维也纳，贝多芬连续16天每天教她们4至5个小时，并且拒绝接受报酬。1800年，里奇洛乌斯基王子每年提供给贝多芬600弗罗林，一直延续到贝多芬找到一份薪水更高的固定工作为止。

In 1800 Prince Lichnowsky settled an annual salary of 600 florins on him, which was to be continued until Beethoven found a permanent posi tion paying more.

当年轻的伯爵夫人约瑟芬和塞利斯·范·布伦斯维克1779年从匈牙利来到维也纳，贝多芬连续16天每天教她们4至5个小时，并且拒绝接受报酬。1800年，里奇洛乌斯基王子每年提供给贝多芬600弗罗林，一直延续到贝多芬找到一份薪水更高的固定工作为止。

Although Beethoven entered into the upper class, and communicated with some nobles, he never placed himself as their subordination. In 1809, Beethoven lived in Crown Prince Siji Knoff's manor. When asked to play piano for a French invader officer, Beethoven definitely refused the Crown Prince's request. Instead, he ran home in rain, took down Crown Prince's dust and smashed it. In the summer of 1812, Beethoven met Goethe in the sanitaria of Taipliz, Czechoslovakia.

贝多芬虽然进入上流社会，与王公贵族相往来，但他从不置自身于臣仆的地位。1809年贝多芬住在利希诺夫斯基亲王的庄园里，亲王要求他为法国侵略者将领演奏钢琴，贝多芬断然拒绝，冒雨回到自己的家，取下亲王的胸像摔得粉碎。1812年夏，贝多芬在捷克疗养地泰普利茨会见了歌德。

The fist part mainly describes the background of his creating in artistic songs from the social background, aesthetic thought,the impacts of classical German traditions,overall development of German artistic songs and the humanitarian significance on Beethoven.The second part analyzes his creation techniques from the aspects of subjects,genre,tune development methods,harmonic language,tone,mode,musical structure anal piano accompaniment.The third part is the summary for Beethoven's inheritance and innovation

第一部分主要从社会时代背景、美学思想背景、德国古典传统与贝多芬创作的关系、作品中表达的人道主义内涵以及德国艺术歌曲整体发展对贝多芬艺术歌曲创作的影响几方面着手进行阐述；第二部分从题材、旋律发展手法、和声语言、调式调性、曲式结构、钢琴伴奏等六个方面来展开对贝多芬艺术歌曲创作技法的分析；第三部分则从贝多芬艺术歌曲对后人艺术歌曲创作的影响这三个方面入手对贝多芬的继承与创新做一个总结

Beethoven's first composition published in 1782,Paul Hindemith is the guest of honor in Beethovenhaus. His works and history is displayed alongside Ludwig van Beethoven because they appear to have many amazing similarities and correlations. For example, both of them had been deeply affiliate with Voila (below is the voila used by Beethoven in Bonn). Both of them shared similar admiration for Bach and had worked on his music.

信德米特同学是贝多芬故居的荣誉客座嘉宾，贝多芬故居里同时展览贝多芬和他的展品，这两位同志原本八竿子打不着的，不过后来越走越近，历史学家翻旧账时候的亦发现了诸多惊人的相似处，譬如他们与中提琴的深厚渊源和热爱(照片上是贝多芬在波恩用过的中提琴)，譬如他们对巴赫同学的崇拜以及对巴赫作品的在加工，等等。

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。