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<p>Examenskonserten inkluderas som film</p><p>Program: </p><p>     Martin, F       Ballade for trombone and piano</p><p>(1890-1974)</p><p>   Arnold, M       Fantasy for Trombone, Op. 101</p><p>(1921-2006)   </p><p>      Sulek, S       Sonata (Vox Gabrieli)</p><p>(1914-1986)</p><p></p><p>Medverkande:</p><p>Elias Ukkonen Widding - Trombon</p><p>Katarina Ström-Harg - Piano</p>

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I den här examensuppsatsen undersöks Franz Liszt och hans Ballad nr 2 i b moll. Genom detta ämnar jag ta reda på vad skräckromantiken egentligen var, vad som skapade den och om detta stycke är ett uttryck för tiden. Syftet är att undersöka stycket och försöka anknyta det till nutiden. Först gick jag noga igenom noterna och analyserade hur det musikaliska, dramaturgiska uttrycket hängde samman med orden, poemet. Efter att ha övat in själva melodin började ett sökande efter poemets berättelse i musiken, och en ny lång inövningsperiod där jag uttryckte historien i musiken, den som eventuellt fanns där men framför allt den egna tolkningen. Jag kom fram till att stycket var ett klart uttryck för det som kallas för skräckromantiken som många av verken Liszt och hans generationskollegor skapade.

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The purpose of this study is to ascertain if exercising mental training, analysis and research on a musical piece before beginning the physical practicing process will benefit and simplify the learning process. The piece chosen is Eduard Tubin’s “Ballade” for violin and piano. Different sections have been analysed and translated into a narrative from my point of view. Historical background information is presented and the piece is also visual as a graph. From my research I deduct that mental techniques should be much more engaged into the everyday practice routine to avoid frustration and physical injuries, and assist in the learning process. / <p>I presented the piece in my examination with Erik Lanninger playing the piano but the recording is made in the hall of Musikaliska with Iveta Calite as the pianist on 30/05/17.</p>

Master of Music / Department of Music / Slawomir P. Dobrzanski / The following report analyzes compositions performed at the author’s Master’s Piano Recital on March 15, 2012. The discussed pieces are Johann Sebastian Bach’s Toccata in G major, BWV 916; Ludwig van Beethoven’s Sonata in E flat major, op. 31, no. 3; Frederic Chopin’s Ballade in F minor, op. 52; Leoš Janáček’s In The Mists: I. Andante, III. Andantino; and Sergei Prokofiev’s Sonata in A minor, op. 28. The author approaches the study from the historical, theoretical, stylistic and pedagogical perspectives.

鋼琴，樂器之王；李斯特，鋼琴之王。他以目眩神迷的鋼琴技巧、誇張的表現力、優美的歌唱旋律征服所有人。詩人杜甫曾說過：「讀書破萬卷，下筆如有神。」。筆者認為李斯特則是「彈琴破萬次，音樂如有神。」。在鋼琴之王李斯特七十五年的生涯中，所創作的音樂作品包羅萬象。這些形形色色的鋼琴作品中，大致上可分為原創性作品及改編作品，本篇論文探討的作品屬於原創性作品。李斯特一生中創作兩首敘事曲，第一號敘事曲創作於1848年，完成於1849年； b小調第二號敘事曲，創作於1853年也完成於同一年。鋼琴家阿勞（Claudio Arrau, 1903-1991）曾經在霍洛維茲（Vladimir Horowitz, 1903-1989）所著的《與鋼琴家阿勞的對話》（Conversations with Arrau）中表示李斯特《第二號敘事曲》是遵照「席洛與黎安德」（Hero and Leander）的愛情故事來描寫的。李斯特在《第二號敘事曲》中賦予這個故事新的生命，運用主題變形的手法描繪黎安德以及席落在故事裡的性格以及種種感受。由於筆者受到此神話故事的感動，因此想要以音樂的角度來體會其故事中角色的變化與情境。 / Piano is the king of musical instruments; Liszt, the king of the piano. His brilliant techniques on piano, exaggerated expressions in music and beautiful melody have conquered all the people. A great Chinese poet Du Fu once said, “Read wild, and you will wisely write.” The author sincerely believes that Liszt’s works have the same vein“Practice wild and you will wisely play.” In his 75 years’ career, he has composed all sorts of piano works. In these works, they in general can be classified into two types: originals and transcriptions. The paper investigated the original one. Liszt composed two ballades during his life: Ballade No.1 was composed in 1848 and completed in 1849 while Ballade No.2 in b minor was composed and accomplished in 1853. Pianist Claude Arrau, in the book “Conversation with Arrau” written by Valdimir Horowitz（1903-1989）, once claimed “Liszt’s Ballade No.2 was based on a Greek mythology also known as a love story– Hero and Leander. Touched by the mythology, the author would like to experience the scenarios of those characters in the mythology in the context of music. / 中文摘要…………………………………………………………………………………………………………I Abstract……………………………………………………………………………………………………II 目錄………………………………………………………………………………………………………………III 表目錄……………………………………………………………………………………………………………VI 圖目錄………………………………………………………………………………………………………………Ⅴ 譜例目錄…………………………………………………………………………………………………………Ⅵ 第一章緒論………………………………………………………………………………………………………1 第一節研究動機與目的…………………………………………………………………………………1 第二節研究範圍與方法…………………………………………………………………………………3 第二章李斯特的時代………………………………………………………………………………………4 第一節浪漫主義興起與時代背景…………………………………………………………………4 第二節李斯特生平與鋼琴作品分期………………………………………………………………7 第三節李斯特的炫技與對鋼琴技巧貢獻……………………………………………………20 第三章李斯特《b小調第二號敘事曲》創作背景探討……………………………35 第一節敘事曲歷史發展簡述…………………………………………………………………………35 第二節創作背景及神話故事…………………………………………………………………………39 第四章李斯特《b小調第二號敘事曲》樂曲分析與演奏詮釋………………43 第一節呈示部……………………………………………………………………………………………………46 第二節發展部……………………………………………………………………………………………………52 第三節再現部……………………………………………………………………………………………………69 第五章結論…………………………………………………………………………………………………………80 參考書目……………………………………………………………………………………………………………89

In Chinese contemporary piano music, large-scale piano compositions featuring innovative polyphonic musical languages are rarely found. Chang-Lei Zhu's Ballade for Solo Piano represents his development of contrapuntal techniques passed on from J. S. Bach and Dmitri Shostakovich in their polyphonic works for solo keyboard or piano. This study focuses on an analysis of Zhu's Ballade as an idiosyncratic composition that makes a significant contribution to the Chinese contemporary piano music repertory. Comparative analysis is made of Zhu's Ballade and J.S. Bach's Well-Tempered Clavier Books 1 and 2, as well as Dmitri Shostakovich's 24 Preludes and Fugues for Solo Piano, Op. 87. Zhu, a living Chinese composer born in 1976, uniquely writes the twenty variations of his Ballade based on the opening theme, a single melody in ten subphrases. This research lays out the close relationship of the opening theme with twenty variations in the Ballade. This study also illustrates how Zhu is an innovative voice in Chinese contemporary piano music literature. This comparative study constitutes the first scholarly study of Zhu's Ballade. Chapter 1 is an introduction to my comparative study. In chapter 2, comparisons on selected excerpts are conducted between Zhu's Ballade and J.S. Bach's WTC, Books 1 and 2, as well as Dmitri Shostakovich's Op. 87. Taking into consideration the pedagogical function of the Ballade, this study includes how the work can be used in Zhu's Ballade in piano pedagogy as an addition in chapter 3.