From Classical to Romatic period:The study of piano quartet in German and Austrian

• Main Authors: Su-Ling Cheng, 鄭夙玲
• Other Authors: 曾瀚霈
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/um2au9

碩士 === 國立中央大學 === 藝術學研究所 === 97 === Stretching across the 18th century, not until two of Wolfgang Amadeus Mozart’s works came out did people start to have piano quartet works of symbolic index in music history. Taking German and Austrian composers as examples, there were seven pieces of piano quartet works in total until the time of Johannes Brahms; through the transformation and development of a hundred years, piano quartet had become another kind of classic quartet genre besides string quartet. The dissertation mainly explored the changing process of bass voice part keyboard instrument of four-voice-part ensemble from the transitional development before piano quartet was mature. The scope of relevant background could be traced back to the 17th century to put it in the historical context to explain how it took shape and transformed, finally, by means of Mozart’s works to verify the establishment of its status and its influence to later ages, and then to extend to the core of the dissertation—Romantic Period. The dissertation expounded how the 19th century musicians that composed piano quartet, such as Felix Mendelssohn, Robert Shuman, and Johannes Brahms depicted piano quartet’s style orientation of different stage in Romantic Period. Comparing to four string instruments of same nature in an ensemble work, a piano mostly undertakes the duty of timbre division in piano quartet, and because of the joining of piano, the heterogeneous tone hues reveals extensive compass and dynamics of variation; meanwhile, it triggers unprecedented expansion in rhythm, figure, texture, and performance skills. To highlight the dissertation’s distinguished feature, the research direction was focused on examining piano’s expression of and demand on music score connotation, dissecting its role play in music, and understanding piano’s development from pure melody and figure to abundant music connotation to comprehend the correlations among motive variation, texture exercise, voice part relationship, and musical form appliance for realizing their being with continuation relationship, producing interaction, or showing a musician’s own idea with what kind of appearance.