碩士 / 國立中山大學 / 音樂學系研究所 / 103 / The first movement of Johann Sebastian Bach''s keyboard concertos was applied the ritornello form in 1720s. The first movement of Carl Philipp Emanuel Bach''s keyboard concertos in 1738 had already showed the concept of sonata form on harmonie usage and materials in the solo sections. Up to 1784, the first movement of Mozart''s keyboard concertos clearly had the coexistence of two forms. Theorist called it as "concerto-sonata form". This thesis mainly discuses Haydn''s D Major Keyboard Concerto composed in 1784. In this concerto, the use of harmonies and the relationship between the orchestra and soloist is closed to Emanuel Bach''s writing, but the using of the materials and themes are closed to Mozart''s.
In addition to the introduction and conclusion, this thesis includes three parts. Part one is explored the development of the first movement form of keyboard concertos before 1784. The second part describes Haydn''s D Major Keyboard Concerto compositional background and related information. It also gives the evidence how Emanuel Bach and Mozart influenced Haydn''s writhing. The third part analyses Haydn''s D Major Keyboard Concerto first movement''s form and function; the contents include the using of orchestration, harmonies, themes, motives; the relationship between the orchestra and soloist; and the cadenzas. Hopefully, through this research, we can find out the inheritance and innovation of Haydn''s keyboard concertos.
| Identifer | oai:union.ndltd.org:TW/103NSYS5248009 |
| Date | January 2015 |
| Creators | Chia-jung Chiang, 江佳蓉 |
| Contributors | Mei-Wen Lee, 李美文 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 61 |
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