A Study of Solo Keyboard Rondos: from Baroque to Romantic Period

• Main Authors: Pei-Lun Chang, 張倍綸
• Other Authors: Shing-Ching Peng
• Format: Others
• Language: zh-TW
• Published: 2004
• Online Access: http://ndltd.ncl.edu.tw/handle/40020609671436745680

碩士 === 中國文化大學 === 音樂研究所 === 92 === Abstract In review of the use of musical genre and forms in Western music pieces, “rondo” is a commonly used form. From the perspective of musical genre, rondo was first played with instruments in early 17th century as folk dance music, and then largely used by French keyboard composers in suites. Carl Philipp Emanuel Bach (1714~1788) gave rondo extended and independent characteristics so that rondo became popular to European composers in late 1770s. In terms of musical form, the combination in refrain and couplet differs, thus, the ternary form in basic forms and sonata rondo in the last chapter of sonata all presented the application of rondo. On the other hand, the contrast or analog of refrain and couplet brought multiple moldable aspects to rondo. Keyboard rondo is the earliest form of rondo. Especially after the introduction of solo rondo by keyboard, rondo not only provided new musical forms but its concise musical structure and flexible musical content made it to composition in the early stage of composers worldwide. This study analyzes four representative keyboard rondos drawn from each of Baroque, Classics, and Romantic periods. Based on the development process of keyboard music, it discusses the background, style, musical composition, and composing technique of rondo to give systematic and rational definition to the lasting status of keyboard rondo and its history. Key words: Rondeau、Rondo、Rondo form