An Analysis and Interpretation of Franz Liszt’s Piano Three Pieces “Sonetto 47, 104, 123 del Petrarca ”

碩士 === 輔仁大學 === 音樂學系 === 105 === Franz Liszt (1811-1886) is one of the leading composers of the Romantic period. He has composed more than seven hundred pieces of musical works. Diverse techniques are applied in his musical works, including thematic transformation, semitone, and vague tonality....

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Bibliographic Details
Main Authors: SHIH, CHIAN-CIH, 施芊慈
Other Authors: SUN, SHU-WEN
Format: Others
Language:zh-TW
Published: 2017
Online Access:http://ndltd.ncl.edu.tw/handle/14970128936706046882
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Summary:碩士 === 輔仁大學 === 音樂學系 === 105 === Franz Liszt (1811-1886) is one of the leading composers of the Romantic period. He has composed more than seven hundred pieces of musical works. Diverse techniques are applied in his musical works, including thematic transformation, semitone, and vague tonality. His virtuosic style has caught great attention. However, it is his virtuosic style that makes the content of his works often being ignored. Nonetheless, Liszt’s techniques in combining literature and music undoubtedly elevate the artistic value of music. This thesis focuses on Sonetto 47,104,123 del Petrarca. There are five chapters in this thesis. The first chapter is the introduction, explaining research motivation, objective, range, and methods. The second chapter introduces the background of composing Sonetto 47,104,123 del Petrarca. This chapter is divided into three parts: the characteristics of the sonnets of Francesco Petrarca (1304-1374), influences on Liszt during his stay in Italy and his inspiration from reading Italian literary works. By reviewing these elements, the composing skills of Sonetto 47,104,123 del Petrarca are further examined. The third chapter is the analysis of Sonetto 47,104,123 del Petrarca based on materials, tonality, and harmony. The fourth chapter is author’s interpretation of Sonetto 47,104,123 del Petrarca. The interpretation of these pieces is explained from the correspondence between the sonnet and the period on the basis of author’s interpretation in speed, tempo, timbre, touch, techniques, and the usage of pedal. The fifth chapter is the conclusion.