| Summary: | 碩士 === 臺北市立大學 === 音樂學系碩士在職專班 === 107 === Abstract
Dmitri Borisovich Kabalevsky (1904-1987) is a famous Russian composer and music educator in the 20th century. Among his works, a series of works written for children and adolescents are mostly well known. Dmitri Borisovich Kabalevsky’s “Children's Pieces for Piano, Op. 27” is characterized by that, every piece of music has a title, which can inspire children’s imagination space for music through its title and prompt style; the length of the music is moderate, mostly within 50 bars, to cooperate with children’s limited time of concentration, which is easy to practice and play; the structure of the music is simple, which is mainly composed of one and three segments; the writing technique of motivation adopts mostly repetition and sequence. In the music, the expansion of hands is controlled within an octave, and the range shift distance is within two octaves, which is suitable for children whose piano playing skills are still developing.
The purpose of this study is to explore Dmitri Borisovich Kabalevsky’s life background, music works, and relevant literature materials of Dmitri Borisovich Kabalevsky’s “Children's Pieces for Piano, Op. 27” and to analyze the music content and discuss the teaching points of 25 pieces of music in the two volumes. This study adopts qualitative “content analysis method” with each piece as an analysis unit, uses “The Analysis Catalogue of Dmitri Borisovich Kabalevsky’s Children's Pieces for Piano, Op. 27” compiled by writer as the tool of research, and analyzes and discusses the basic structure of the music, the training of playing skills and the key points of teaching.
The conclusions of this study are as follows: Dmitri Borisovich Kabalevsky’s “Children's Pieces for Piano, Op. 27” is a piano teaching book which combines many purposes. In the 25 pieces of works, the Kabalevsky’s teaching ideas can be observed from the titles, the arrangement of keys, meters, and the lengths of music, etc.Although this two volums written for children, but he hope students would not only pay attention to the technical nature of fingers, but also be able to convey the musical idea, the contrast of dynamic, and then realize the style of modern music from the change of tonality, rich harmony and the musical tension expressed by dissonent sounds.
Finally, according to the results of this study, some suggestions will put forward on piano teaching, future academic research and content of Taiwan music publishing.
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