scherzo

A Musical Analysis of " Minor B Scherzo " by Chopin

肖邦《B小调谐谑曲》的音乐分析

The No.4 Scherzo adopts a mixed form , E major , 3 / 4 time .

第四谐谑曲为混合曲式结构，E大调，3/4拍子。

Secondly , the paper Chopin Scherzo of the status and value , including artistic value and the value of teaching .

其次，论述肖邦钢琴谐谑曲的地位及价值，包括艺术价值和教学价值两方面。

The No.1 Scherzo is compound ternary form , b minor , 3 / 4 time .

第一谐谑曲为复三部曲式，b小调，3/4拍子。

The second chapter analyzes the conspicuous features of the techniques in the scherzo to demonstrate its significant stylistic characters .

第二章，是通过谐谑曲中显象性的技法分析来展示其内涵性的风格特征。

Can be said that the piano by Chopin Scherzo creative genre which reached its peak .

可以说，钢琴谐谑曲体裁是通过肖邦的创作而达到了顶峰。

Scherzo had experienced several important stages during thedevelopment , which were initial stage , exploring stage , diversifying stage .

谐谑曲在发展的过程中经历了重要的过程：初期阶段、探索阶段、发展多样阶段。

The No.2 Scherzo uses a free form of Sonata , b flat minor , 3 / 4 time .

第二谐谑曲用比较自由的奏鸣曲式结构写成，降b小调，3/4拍子。

The Musical Connotation of the Four Scherzos by Chopin

论萧邦四首谐谑曲的音乐内涵

Firstly , the Chopin scherzo genre of the inheritance .

首先，阐述肖邦对谐谑曲体裁的继承。

It is significant to have a deep understanding of Scherzo and interpret the performing of Chopin style .

对于提高对谐谑曲认识的深度，诠释肖邦风格的演奏具有借鉴意义。

He composed four independent Scherzos , which have grand structure and epic momentum . The four works have high artistry and ideological level .

他创作了四首独立体裁的谐谑曲。这四部作品规模庞大，气势恢宏，具有非常高的艺术性和思想性。

All the jubilation that follows can sound like an attempt to forget whatever existential threat the Scherzo poses .

随之而来的所有欢庆场景仿佛试图去掩盖那些谐谑曲所存在的威胁。

In the first chapter , Introduction , the author introduces the historical development of scherzo , reviews the evolutionary process of the style of scherzo .

在第一章绪论中，首先介绍了谐谑曲的历史发展脉络，考察了谐谑曲的风格演变过程。

Chopin 's scherzo is a single-chapter piano solo which has distinctive contrast and enormous structure .

肖邦的谐谑曲是音乐形象对比鲜明结构庞大的一种单乐章的钢琴独奏曲。

Reduction of Scherzo ( Allegretto ) of Symphony No.5 , for solo piano .

为钢琴独奏而改编的第5交响曲中的谐谑曲（小快板）缩编谱。

By analyzing these two music elements , it allows the reader to further understand the overall style and characteristics of melody and harmony in Chopin 's scherzos .

通过这两个音乐要素的分析，来进一步了解肖邦谐谑曲旋律与和声的总体风格特征。

And then , starts from Chopin 's scherzos , the author introduces the historical background and overall style and characteristics of Chopin 's scherzos .

然后从肖邦谐谑曲入手，介绍了肖邦谐谑曲的历史背景与总体风格特征。

Jin Yong wrote minor stories by borrowing the clown of Chinese opera and scherzo of the West , so that he could enliven the atmosphere and have comic effect .

同时还论述了金庸借用中国戏曲丑角与西方谐谑曲的特性构建其小说中的次要故事来活跃气氛，从而达到一种诙谐逗趣的喜剧效果。

In conclusion , on the basis of predecessor 's works , Chopin 's scherzos have created its unique style and characteristic of its musical language , and made an important contribution to the development of scherzo .

总之，肖邦谐谑曲在前人的基础上，创立了自己独特的谐谑曲音乐语言风格特征，为谐谑曲体裁的发展作出了重要贡献。

Chopin is the famous Piano Poets of Polish , he have created four separate styles of piano scherzo in his life , and the four piece is an expansion and innovation for scherzo genre .

肖邦是波兰著名的钢琴音乐诗人，一生的创作中有四首独立体裁的钢琴谐谑曲，这四首作品是对谐谑曲体裁的拓展与革新。

With megaton amplification , the loud playing in the outer sections of two Chopin scherzos and in two pieces from Tchaikovsky 's " The Seasons " was deafening and soul-deadening .

他演奏肖邦的两首诙谐曲和柴科夫斯基《四季》（TheSeasons）套曲中的两首曲目时，首尾部分的琴声被无限放大后简直震耳欲聋，灵性全无。

Through the analysis , it has confirmed the conclusion made out of the above analysis on musical form . From the angle of sense and sensibility , it allows the reader to have a more thorough understanding on the style and characteristic of Chopin 's scherzos .

通过这样的分析，验证了以上音乐形式分析得出的结论，进一步从感性和理性上对肖邦谐谑曲的风格特征有了一个更为深入的理解和认识。

The second movement , written in sonata form used to start the Department also includes the trilogy there is a complex type of interpolation Department , enthusiastic Allegro ( Allegro appassionato ), d minor , 3 / 4 beat , a typical Scherzo , with fire in general enthusiasm .

第二乐章采用奏鸣曲式写成，展开部中还包含有一个复三部曲式的插部，热情的快板（Allegroappassionato），d小调，3/4拍子，典型的谐谑曲，具有火一般的热情。

In the fourth chapter , the author utilizes the theory of Musical apperceive analysis , which is established by Leonard B. Meyer , a famous American musical esthetician and theoretician , and then , from the angle of music apperceive , analyzes the third scherzo of Chopin more particularly .

在第四章中，运用了美国著名音乐美学家、理论家伦纳德·迈尔所创立的音乐感知分析的理论，从音乐感知角度入手，对肖邦创作的第三首谐谑曲进行了较为细致的音乐分析。