Walther von Goethe G B 1 Alfred Cortot 1877 ~ 1962 Wilhelm Kempff 1895 ~ 1991 András Schiff 1953 G B 35 /36 67 /68 2 9

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1 41 J A Davidsbuendlertaenzer Op f F. E. F. E. Florestan Eusebius ~

2 Walther von Goethe G B 1 Alfred Cortot 1877 ~ 1962 Wilhelm Kempff 1895 ~ 1991 András Schiff 1953 G B 35 /36 67 /68 2 9

3 43 B 3 3 / /

4 sf sf f mf 6 ad lib. D. C /4 23 / /8

5 45 E d c g E d d A B 28 D 36 ~ 38 6 /8 / / 8 16 f ff d A 24 8 rit. sf g A 3 /4 36 sf A B A B

6 sf 15 C C C Clara C c sf C c cd 3 C 11 9 sf

7 47 2. Alfred Cortot 1877 ~ 1962 f Geza Anda 1921 ~ Christian Zacharias 1950 sf 13

8 b /14 17 /18 ABA A b 1 ~ sf 11 ~ B 50 ~ 53 b f 4 A f ff B p pp 8

9 B A 23 ~ 49 ff ~ ~ sf A 94 A B B 17 p 33 17

10 Claudio Arrau 1903 ~ Maurizio Pollini ~ 41 F. und E. 17 ~ 24 pp p pp f 9 ~ 13 20

11 51 b G 29 ~ 33 f p pp B 34 ~ ~ 24 F 21 C 41 ~ C 53 C 3 C 22

12 Hans Joachim Koehler Robert Schumann Interpretationen seiner Werke Laaber Verlag 2. Klaviermusik Fuehrer Reclams Verlag 3. Arnfried Edler Robert Schuman und seine Zeit Laaber Verlag

13 THE ART OF MUSIC Journal of the Shanghai Conservatory of Music Contents No Analysis / Research Study of Inversion Counterpoint - A Further Discussion on Retrograde Counterpoint and Imitation / XU Mengdong 6 With his own coined couple concepts complete and incomplete inversion counterpoint the author mainly proposes a solution to the teaching and composing of polyphonic incomplete inversion counterpoint tackling a series of other derivative concepts such as synchronous reverse counterpoint retrograde counterpoint and its imitation double transformative retrograde imitation. The Way Timbre Structure Functions - On the Timbre Contrast and Orchestration of Lutoslawski's Second Symphony /YIN Mingwu 13 The essay analyzes Lutoslawski's Second Symphony in terms of its timbre contrast and orchestration. The treatment of timbre and sound is the composer's important means for the work's formation. Moreover his aesthetics individualized techniques and idioms as reflected in this work can be ranked among the music treasures in the 20th century. Pierre Jodlowski's Dialogue /Reflection Sound Organization and Structure /SHAO Qing 22 Starting from the work's sound organization and structure the writer explores electronic music involving the way of its structural formation and of the composition combined with normal instruments. Simplified in Structure and Innovative in Idea - On Huang Zi's Song of Family Happiness / WANG Xiaoqing WANG Rui 28 The authors interpret the inner linkage between musical language and style as reflected in Huang Zi's Song of Family Happiness disclosing the cultural connotations and the composer's deep artistic ideas in order to evoke the re-study of the composer and his music. Shandong Dagu - Singing with Big Drum Beating Puzzles about Historical Sound Archives' Restoration / WANG Yusang 34 By means of audio restoration the writer restored the steel wire recording No. 083 dated 1954 on Shandong dagu big drum singing kept in the Shanghai Conservatory. While comparing with the later recording and transcription of the same piece by the same performer a few hard-to-judge differences and puzzles arise unconsciously. Schumann's Davidsbuendlertaenze Eight Performing Versions Compared /FU Hong 41 The article compares the eight master pianists' performing versions of Schumann's Davidsbuendlertaenze i. e. by Cortot Kempf Schiff Anda Fu Tsong Zacharias Arrau and Pollini respectively and analyzes their different treatments for the insights into the work's connotative skills and styles. Thoughts / Ideas Musical Signs Connotative and Denotative Grammar /LIN Hua 53 Modern philosophy interprets the generation of artistic beauty by studying signs. Cultural music mainly functions for the outlet of emotion with connotative grammar as its principle freely composed by image through original signs. Artistic music for rational image should turn to denotative grammar for its principle arranged logically by realistic signs in which it makes up a musical phantom by removing its reality through metaphors. In this process artistic signs become art signs. Why Is Ahbing Glorified /LIU Yong 61 Historical truth tends to be hidden under a glorified cover. Why to give a common folk artist such a

國立中山大學學位論文典藏.PDF

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