Bartok.-.op.1.-.Rhapsody-(1904)
巴托克 全部音乐作品列表(List of compositions by Bela Bartok)
List of compositions by Béla BartókContents• 1 Sortable list by four catalogue numberings, year of composition and instrumentation• 2 List by type of compositiono 2.1 Stage workso 2.2 Orchestral workso 2.3 Concertante workso 2.4 Choral workso 2.5 Chamber workso 2.6 Piano workso 2.7 Songso 2.8 Arrangements by others• 3 By BB numbers1. Sortable list by four catalogue numberings, year of composition and instrumentationName Sz. BB DD opus year instruments/voices used Walczer 1 1 1 1 (list 1) 1890 PianoChanging Piece (Változo darab) 1 2 2 (list 1) 1890 PianoMazurka 2 1 3 3 (list 1) 1890 PianoBudapest Athletic Competition 1 4 4 (list 1) 1890 PianoSonatina No. 1 1 5 5 (list 1) 1890 PianoWallachian Piece (Oláh darab) 1 6 6 (list 1) 1890 PianoFast Polka (Gyorspolka) 1 7 7 (list 1) 1891 Piano'Bela' Polka 1 8 8 (list 1) 1891 Piano'Katinka' Polka 1 9 9 (list 1) 1891 PianoVoices of Spring (Tavaszi hangok) 1 10 10 (list 1) 1891 Piano'Jolán' Polka 1 11 11 (list 1) 1891 Piano'Gabi' Polka 1 12 12 (list 1) 1891 PianoForget-me-not (Nefelejts) 1 13 13 (list 1) 1891 PianoLändler No. 1 1 14 14 (list 1) 1891 Piano'Irma' Polka 1 15 15 (list 1) 1891 PianoRadegund Echo (Radegundi visszhang) 1 16 16 (list 1) 1891 PianoMarch (Induló) 1 17 17 (list 1) 1891 PianoLändler No. 2 1 18 18 (list 1) 1891 PianoCircus Polka (Cirkusz polka) 1 19 19 (list 1) 1891 PianoThe Course of the Danube (A Duna folyása) 4 1 20 20 (list 1) 1891 PianoThe Course of the Danube (A Duna folyása) 4 1 20b 20 (list 1) 1894 Violin and PianoSonatina No. 2 1 21 21 (list 1) 1891? PianoLändler No. 3 * 1 22 22 (list 1) 1892 PianoSpring Song 1 23 23 (list 1) 1892 PianoSzöllos Piece (Szöllosi darab) * 1 24 24 (list 1) 1892 Piano'Margit' Polka 1 25 25 (list 1) 1893 Piano'Ilona' Mazurka 1 26 26 (list 1) 1893 Piano'Loli' Mazurka 1 27 27 (list 1) 1893 Piano'Lajos' Waltz ('Lajos' valczer) 1 28 28 (list 1) 1893 Piano'Elza' Polka 29 29 (list 1) 1894 PianoAndante con variazioni 1 30 30 (list 1) 1894 PianoX.Y. * 1 31 31 (list 1) 1894 PianoSonata No. 1 in G minor 2 32 1 (list 2) 1894 PianoScherzo in G minor 33 1894 PianoFantasie in A minor 3 34 2 (list 2) 1895 PianoSonata No. 2 in F major 4 35 3 (list 2) 1895 PianoCapriccio in B minor 5 36 4 (list 2) 1895 PianoSonata in C minor 6 37 5 (list 2) 1895 Violin and PianoSonata No. 3 in C major * 7 38 6 (list 2) 1895 PianoPieces * 7 39 7 (list 2) 1895 ViolinFantasia * 7 40 8 (list 2) 1894 ViolinFantasia * 7 41 9 (list 2) 1895 ViolinString Quartet No. 1 in B major * 7 42 10 (list 2) 1896 String QuartetString Quartet No. 2 in C minor * 7 43 11 (list 2) 1896 String QuartetAndante, Scherzo and Finale * 7 44 12 (list 2) 1897 PianoThree Pieces 8 45 13 (list 2) 1897 PianoPiano Quintet in C major * 9 46 14 (list 2) 1897 Piano QuintetTwo Pieces * 9 47 15 (list 2) 1897 PianoGreat Fantasy * 9 48 16 (list 2) 1897 PianoSonata in A major * 10 49 17 (list 2) 1897 Violin and PianoScherzo or Fantasie 8 11 50 18 (list 2) 1897 PianoSonata “op.1”12 51 19 (list 2) 1898 PianoPiano Quartet in C minor 9 13 52 20 (list 2) 1898 Piano QuartetThree Piano Pieces (fantasies) 6 14 53 21 (list 2) 1898 PianoThree Songs 10 15 54 1898 Voice and PianoScherzo in B minor 16 55 1898 PianoString Quartet in F major 17 56 1898 String QuartetPiano Quintet Fragments 19 B10 12 1899 Piano QuintetTiefblaue Veilchen 18 57 1899 Soprano w. Orchestra Scherzo in Sonata Form 19 58 1899-1900 String QuartetScherzo in B Flat minor 19 59 1900? PianoSix Dances 54 19 60 1900 PianoValcer 60b 1900 OrchestraLiebeslieder 13 20 62 1899 Voice and PianoScherzo in B Flat minor 21 63 1900 PianoVariations on a Theme by F.F. 22 64 1900-1901 PianoScherzo 17 25 65 1901 OrchestraTempo di minuetto 23 66 1901 PianoFour Songs 15 24 67 1902 Voice and PianoSymphony (only Scherzo) 16 25 68 1902-1903 OrchestraDuo 26 69 1902 Two ViolinsAlbumblatt (Andante) in A major 26 70 1902 Violin and PianoFour Piano Pieces (Négy zongoradarab) 22 27 71 1903 PianoAndante in F Sharp or A major 26 71 B14 1902 Violin and PianoViolin Sonata in E minor 20 28 72 1903 Violin and PianoEst (Evening) for Voice and Piano 29 74 1903 Voice and PianoEst (Evening) for Male Chorus 19 30 74 1903 Male Chorus w. Orchestra Kossuth, symphonic poem 21 31 75a 1903 OrchestraMarcia Funèbre (from Kossuth) 21 31 75b 1903 PianoFour Songs * 18 32 76 1903 Voice and PianoPiano Quintet 23 33 77 1903-1904 Piano QuintetRhapsody for Piano 26 36a 1 (list 3) 1904 PianoRhapsody for Piano and Orchestra 27 36b 1 (list 3) 1905 Piano and Orchestra Scherzo Burlesque for Piano and Orchestra 28 35 2 (list 3) 1904 Piano and Orchestra Hungarian Folksongs (Magyar népdalok) 29 37 1904, 1905 Voice and PianoSzékely Folksongs (Piros alma) 30 34 1904, 1905 Voice and PianoPetits morceaux (from BB37(no.2) and 24(no.1) 38 67/1 1905, 1907? PianoSuite No. 1 31 39 3 (list 3) 1905, rev c.1920 OrchestraTo the Little 'Tot', Five Songs 32 41 1905 Voice and PianoHungarian Folksongs, Ten Songs 33 42 1906, rev BB97 1928 Voice and PianoHungarian Folksongs, Ten Songs 33 43 1906-1907 Voice and PianoTwo Hungarian Folksongs 33b 44 1906 Voice and PianoSuite No. 2 34 40 4 (list 3) 1905, 1907 rev '43 Small OrchestraFrom Gyergyó 35 45a 1907 Voice (or reed pipe) and Piano Three Hungarian Folksongs from Csik 35a 45b 1907 PianoFour Slovak Folksongs 35b 46 1916? Voice and PianoEight Hungarian Folksongs 64 47 1907 (no.6-8 1917) Voice and PianoConcerto for Violin and Orchestra No. 1 36 48a 1907-1908 pub '56 Violin and OrchestraTwo Portraits for Orchestra 37 48b 5 (list 3) 1907-1911 OrchestraFourteen Bagatelles 38 50 6 (list 3) 1908 PianoTen Easy Pieces 39 51 1908 PianoString Quartet No. 1 40 52 7 (list 3) 1908-1909 String QuartetTwo Elegies 41 49 8b (list 3) 1908-1909 PianoFor Children (4 volumes in 2 books) 42 53 1908-1909 PianoTwo Romanian Folk Dances 43 56 8a (list 3) 1910 PianoTwo Romaninan folk songs 57 1909 appr. Women choirFour Dirges 45 58 9a (list 3) 1910 PianoSeven Sketches (Vázlatok) 44 54 9b (list 3) 1908-1910 PianoTwo Pictures for Orchestra 46 59 10 (list 3) 1910 OrchestraThree Burlesques (Három burleszk) 47 55 8c (list 3) 1908-1911 PianoRomanian Dance (one of BB 56) 47a 61 1911 OrchestraBluebeard's Castle Opera in One Act 48 62 11 (list 3) 1911 rev 1912&'17 Voice and OrchestraAllegro barbaro 49 63 1911 PianoFour Old Hungarian Folksongs 50 60 1910 rev 1926 Male Chorus w/o OrchestraFour Pieces 51 64 12 (list 3) 1912, orch in 1921 Piano / OrchestraPiano etude (Reschofsky) 52 1913 PianoThe First Term at the Piano 53 66 1913 PianoSonatina 55 69 1915 PianoRomanian Folk Dances 56 68 1915 PianoRomanian Christmas Carols 57 67 1915 PianoTwo Romanian Folksongs 58 1915 Female ChorusNine Romanian Folksongs 59 65 1915 (or earlier) Voice and PianoThe Wooden Prince Ballet in One Act 60 74 13 (list 3) 1914-1917 OrchestraThe Wooden Prince Suite 74 13 (list 3) 1921, 1924? OrchestraSuite 62 70 14 (list 3) 1916 PianoFive Songs 61 71 15 (list 3) 1916 Voice and PianoFive Songs 63 72 16 (list 3) 1916 Voice and PianoSlovak Folksong 63a 73 1916? Voice and PianoHungarian Folksong 65 1914 -17? PianoThree Hungarian Folksongs 66 80b 1914-1918 rev ‘41PianoString Quartet No. 2 67 75 17 (list 3) 1915-1917 String QuartetRomanian Folkdances small orch.(fromBB68) 68 76 1917 Piano / OrchestraFive Slovak Folksongs for Male Chorus 69 77 1917 Male Chorus w/o OrchestraFour Slovak Folksongs for Mixed Choir 70 78 1916 or ‘17Mixed Choir w/o OrchestraFifteen Hungarian Peasant Songs 71 79 1914-1918 Piano…Leszállott a páva”80 1914 PianoStudies 72 81 18 (list 3) 1918 PianoThe Miraculous Mandarin, Pantomime 73 82 19 (list 3) 1918-’19, 1924Orchestra (w. choir)The Miraculous Mandarin, Suite 73 82 19 (list 3) 1918, cmpl in 1927 OrchestraEight Improvisations on Hung. Peasant Songs 74 83 20 (list 3) 1920 PianoSonata for Violin and Piano No. 1 75 84 21 (list 3) 1921 Violin and PianoSonata for Violin and Piano No. 2 76 85 1922 Violin and PianoDance Suite 77 86 1923, piano 1925 Orchestra / pianoVillage Scenes (Falún), Five Slovak Songs 78 87a 1924 Female Voice and PianoThree Village Scenes (Falún) 79 87b May 1926 4/8 women choir w. chmb.orch. Sonata for Piano 80 88 June 1926 PianoOut of Doors 81 89 (summer) 1926 PianoNine Little Pieces 82 90 1926 PianoConcerto for Piano and Orchestra No. 1 83 91 1926 Piano and OrchestraThree Rondos on Slovak Folk Tunes 84 92 1916, 1927 PianoString Quartet No. 3 85 93 1927 String QuartetRhapsody for Violin and Piano No. 1 87, 88 94 1928 (Cello transcription 1929) Violin (or Cello) and Piano Rhapsody for Violin and Orchestra No. 1 86 94 1929 Violin and OrchestraRhapsody for Violin and Piano No. 2 89 96 1928 rev ’35 or '44Violin and PianoRhapsody for Violin and Orch. No.2 90 96 1928, rev ’35 or '44Violin and Orch.String Quartet No. 4 91 95 1928 String QuartetFive Hungarian Folksongs (revision of BB 42) 33 97 1928 Voice and PianoTwenty Hungarian Folksongs 92 98 1929 Voice and PianoFour Hungarian Folksongs for Mixed Chorus 93 99 1932 Mixed ChorusCantata Profana (9 Enchanted Stags) 94 100 1930 2 voices dbl chorus w. orch. Concerto for Piano and Orchestra No. 2 95 101 1930-1931 Piano and OrchestraSonatina for violin and piano (arr. BB 69) 55 102a 1930 appr Violin and PianoTransylvanian Dances 96 102b 1931 OrchestraHungarian Sketches arr.parts BB51,53,55,58 97 103 1931 Orchestra44 Duos for Two Violins 98 104 1931-1932 Two ViolinsSzékely Songs for Male Chorus 99 106 1932 (and 1938?) Male ChorusHungarian Peasant Songs arr. BB79/6-15 100 107 1933 OrchestraFive Hungarian Folksongs arr. parts BB 98 101 108 1933 Solo Voice and OrchestraHungarian dances 1934 Violin and PianoString Quartet No. 5 102 110 1934 String Quartet27 Choruses 103 111 1935-‘36, w. orch 1937-‘41Children and women choir w.&w/o orch From Olden Times for Male Chorus 104 112 1935 Male ChorusPetite suite arr. BB 104 105 113 1936 PianoMusic for Strings, Percussion and Celesta 106 114 1936 Strings, Percussion and Celesta Mikrokosmos 107 105 1926 and 1932-39 PianoSeven Pieces from Mikrokosmos (BB 105) 108 120 1939-1940 Two PianosHungarian Folksong 109 109 1934 approx.Sonata for Two Pianos and Percussion 110 115 1937 Two Pianos and Percussion Contrasts 111 116 1938 Violin, Clarinet and Piano Concerto for Violin and Orchestra No. 2 112 117 1937-1938 Violin and Orchestra Divertimento 113 118 1939 StringsString Quartet No. 6 114 119 1939 String QuartetConcerto for Two Pianos 115 121 1940 Two Pianos and orchestra Suite arr. BB 40 115a 122 4b (list 3) 1941 Two PianosConcerto for Orchestra 116 123 1942-43, rev 1945 OrchestraSonata for Solo Violin 117 124 1944 Solo ViolinA férj keserve (goat song) 125 1945 Voice and Piano (Merriment Piano)Three Ukrainian Folksongs 118 126 1945 Voice and Piano Concerto for Piano and Orchestra No. 3 119 127 1945 Piano and Orchestra Concerto for Viola (sketches only) 120 128 1945 Viola and Orchestra2. List by type of composition2.1 Stage works•Duke Bluebeard's Castle (1911, revised 1912 & 1917) Op.11, Sz.48, BB 62, opera•The Wooden Prince (1914-16) Op.13, Sz.60, BB 74, ballet•The Miraculous Mandarin (1918, 1919 completed 1926) Op.19, Sz.73, BB 82, ballet-pantomime2.2 Orchestral works•Scherzo in C major from Symphony in E flat major DD 68, BB 25•Suite #1 for full orchestra (1905) Op. 3, Sz. 31, BB 39•Suite #2 for small orchestra (1905-1907 revised 1943) Op. 4, Sz. 34, BB 40•Two Portraits (1907, 1908) Op. 5, Sz. 37, BB 48b•Two Pictures (1910) Op. 10, Sz. 46, BB 59•Romanian Dance Sz. 47a, BB 61•Four Pieces (1912) Op. 12, Sz. 51, BB 64•Suite The Wooden Prince Op. 13, Sz. 60, BB 74•Romanian Folk Dances for small orchestra (1917) Sz. 68, BB 76•Suite The Miraculous Mandarin Op. 19, Sz. 73, BB 82•Kossuth, Symphonic Poem Sz. 75a, BB 31•Dance Suite (Táncszvit) (1923) Sz. 77, BB 86•Transylvanian Dances Sz. 96, BB 102b•Hungarian Sketches (1931 ) Sz. 97, BB 103•Hungarian Peasant Songs Sz. 100, BB 107•Music for Strings, Percussion and Celesta (1936) Sz. 106, BB 114•Divertimento (1939) Sz. 113, BB 118•Concerto for Orchestra (1942–43, revised 1945) Sz. 116, BB 1232.3 Concertante works•Pianoo Rhapsody for Piano and Orchestra Op. 1, Sz. 27, BB 36bo Scherzo Burlesque for Piano and Orchestra Op. 2, Sz. 28, BB 35o Piano Concerto No. 1 (1926) Sz. 83, BB 91o Piano Concerto No. 2 (1932) Sz. 95, BB 101o Piano Concerto No. 3 (1945) Sz. 119, BB 127•Violino Violin Concerto No. 1 (1907-1908, 1st pub 1956) Op. posth., Sz. 36, BB 48ao Rhapsody Folk Dances for Violin and Orchestra No. 1 (1928-29) Sz. 87, BB 94o Rhapsody Folk Dances for Violin and Orchestra No. 2 (1928, rev. 1935) Sz. 90, BB 96o Violin Concerto No. 2 (1937-38) Sz. 112, BB 117•Violao Viola Concerto (completed by Tibor Serly and also arr. for cello) (1945) Sz. 120, BB 128•Othero Concerto for Two Pianos, Percussion and Orchestra (1943, arrangement of Sonata for Two Pianos and Percussion)2.4 Choral works•With Orchestral Accompanimento 3 Village Scenes Falun Sz. 79, BB 87bo 5 Hungarian Folksongs Sz. 101, BB 108o27 Choruses with Orchestral Accompaniment Sz. 103, BB 111o Cantata Profana The Nine Enchanted Stags (1930) Sz. 94, BB 100•Without Orchestral Accompanimento 4 Old Hungarian folksongs Sz. 50, BB 60o 4 Slovak Folksongs Sz. 70, BB 78o27 Two-part & Three-part Choruses Sz. 103, BB 111o Evening DD 74, BB 30o From Olden Times (1935)o Hungarian Folksongs Sz. 93, BB 99o Slovak Folksongs Sz. 69, BB 77o Székely Songs Sz. 99, BB 1062.5 Chamber works•44 Duos for two violins Sz. 98, BB 104•Andante in A major DD 70, BB 26•Contrasts for clarinet, violin, and piano (1938) Sz. 111, BB 116•Piano Quintet (1903-4) DD 77, BB 33•Rhapsody No. 1 for violin and piano Sz. 86, BB 94•Rhapsody No. 2 for violin and piano Sz. 89, BB 96•Sonata for two pianos and percussion Sz. 110, BB 115•Sonata in E minor for violin and piano DD 72, BB 28•Sonata No. 1 for violin and piano (1921) Op.21 Sz. 75, BB 84•Sonata No. 2 for violin and piano (1922) Sz. 76, BB 85•Seven Pieces from Mikrokosmos (for two pianos) Sz. 108, BB 120•Sonata for violin Sz. 117, BB 124•Suite Op. 4b (arranged for two pianos), Sz. 115a, BB 122•String Quartetso String Quartet No. 1 Op.7, Sz. 40, BB 52o String Quartet No. 2 Op.17, Sz. 67, BB 75o String Quartet No. 3 Sz. 85, BB 93o String Quartet No. 4 Sz. 91, BB 95o String Quartet No. 5 Sz. 102, BB 110o String Quartet No. 6 Sz. 114, BB 1192.6 Piano works● 1 Elegies Op. 8b, Sz. 41, BB 49● 2 Romanian Folk Dances (1910) Op. 8a, Sz. 43, BB 56● 3 Burlesques Op. 8c, Sz. 47, BB 55● 3 Studies Op. 18, Sz. 72, BB 81● 4 Dirges Op. 9a, Sz. 45, BB 58● 4 Pieces DD 71, BB 27●7 Sketches Op. 9b, Sz. 44, BB 54●8 Improvisations on Hungarian Peasant Songs (1920) Op. 20, Sz. 74, BB 83●14 Bagatelles (1908) Op. 6, Sz. 38, BB 50●Suite, Op. 14, Sz. 62, BB 70●15 Hungarian Peasant Songs Sz. 71, BB 79●Allegro barbaro (1911) Sz. 49, BB 63●Dance Suite Sz. 77, BB 86●For Children Sz. 42, BB 53, [Books 1 & 2] Vol.1-4●Marche funebre Sz. 75b, BB 31●Mikrokosmos (1926, 1932–39) Sz. 107, BB 105⏹includes the 6 Dances in Bulgarian Rhythm dedicated to Harriet Cohen●Nine Little Pieces Sz. 82, BB 90●Out of Doors (1926) Sz. 81, BB 89●Petite Suite Sz. 105, BB 113●Petits Morceaux DD 67/1, BB 38●Rhapsody Op. 1, Sz. 26, BB 36a●Romanian Folk Dances (1915) Sz. 56, BB 68●Scherzo oder Fantasie Op. 18, DD 50, BB 11●Sonata (1926) Sz. 80, BB 88●Sonatina (1915) Sz. 55, BB 69●The First Term at the Piano Sz. 52-53, BB 67●Three Rondos on Slovak Folktunes Sz. 84, BB 92●Three Hungarian Folksongs from the Csík District Sz. 35a, BB 45/b2.7 Songs• 2 Hungarian Folksongs Sz. 33b, BB 44• 4 Slovakian Folksongs Sz. 35b, BB 46• 4 Songs included in Mikrokosmos Sz. 107, BB 105• 5 Songs on poems by Endre Ady Op. 16, Sz. 63, BB 72• 5 Songs on poems by Klára Gombossy and Wanda Gleiman Op. 15, Sz. 61, BB 71 (original with piano accompaniment, later also arranged by Zoltán Kodály for orchestral accompaniment)•8 Hungarian Folksongs Sz. 64, BB 47•20 Hungarian Folksongs Sz. 92, BB 98•Székely Folksong Piros Alma... Sz. 30, BB 34•From Gyergyó Sz. 35, BB 45a•Hungarian Folksong Sz. 109, BB deest•Hungarian Folksongs #1-10 Sz. 33, BB 42•Hungarian Folksongs #11-20 Sz. 33a, BB 43•Village Scenes Falun Sz. 78, BB 87a2.8 Arrangements by others•Suite paysanne hongroise (arranged by Paul Arma, for flute and piano or orchestra)•Rumanian Folk Dances (arranged by Frederick Charlton for The Hutchins Consort)•Allegro barbaro arranged by JenőKenessey for orchestra (1946)3. By BB numbers•() BB 11: Scherzo oder Fantasie, op. 18, DD 50•() BB 25: Scherzo in C major from Symphony in E flat major, DD 68•() BB 26: Andante in A major, DD 70•() BB 27: 4 Pieces, DD 71•() BB 28: Sonata in E minor for violin and piano, DD 72•() BB 30: Evening,DD 74•() BB 31: Marche funebre, Sz. 75b•() BB 31: Kossuth, Symphonic Poem, Sz. 75a•(1903-4) BB 33: Piano Quintet, DD 77•() BB 34: Székely Folksong Piros Alma..., Sz. 30•() BB 35: Scherzo Burlesque for Piano and Orchestra, op. 2, Sz. 28•() BB 36a: Rhapsody, op. 1, Sz. 26•() BB 36b: Rhapsody for Piano and Orchestra, op. 1, Sz. 27•() BB 38: Petits Morceaux, DD 67/1•(1905) BB 39: Suite #1 for full orchestra, op. 3, Sz. 31•(1905-07/1943) BB 40: Suite #2 for small orchestra, op. 4, Sz. 34•() BB 42: Hungarian Folksongs #1-10, Sz. 33•() BB 43: Hungarian Folksongs #11-20, Sz. 33a•() BB 44: 2 Hungarian Folksongs, Sz. 33b•() BB 45a: From Gyergyó, Sz. 35•() BB 45b: Three Hungarian Folksongs from the Csík District, Sz. 35a•() BB 46: 4 Slovakian Folksongs, Sz. 35b•() BB 47: 8 Hungarian Folksongs, Sz. 64•(1907-08/1956) BB 48a: Violin Concerto No. 1, op. posth., Sz. 36•(1907, 1908) BB 48b: Two Portraits, op. 5, Sz. 37•() BB 49: 2 Elegies, op. 8b, Sz. 41•() BB 50: 14 Bagatelles, op. 6, Sz. 38•() BB 52: String Quartet No. 1, op.7, Sz. 40•() BB 53: For Children Sz. 42 [Books 1 & 2] Vol.1-4•() BB 54: 7 Sketches, op. 9b, Sz. 44•() BB 55: 3 Burlesques, op. 8c, Sz. 47•(1910) BB 56: 2 Romanian Folk Dances, op. 8a, Sz. 43•() BB 58: 4 Dirges, op. 9a, Sz. 45•(1910) BB 59: Two Pictures, op. 10, Sz. 46•() BB 60: 4 Old Hungarian folksongs, Sz. 50•() BB 61: Romanian Dance, Sz. 47a•(1911/1912/1917) BB 62: Duke Bluebeard's Castle, op.11, Sz.48•(1911) BB 63: Allegro barbaro, Sz. 49•(1912) BB 64: Four Pieces, op. 12, Sz. 51•() BB 67: The First Term at the Piano, Sz. 52-53•(1915) BB 68: Romanian Folk Dances, Sz. 56•(1915) BB 69: Sonatina, Sz. 55•() BB 71: 5 Songs on poems by Klára Gombossy and Wanda Gleiman, op. 15, Sz. 61•() BB 72: 5 Songs on poems by Endre Ady, op. 16, Sz. 63•(1914-16) BB 74: The Wooden Prince, op.13, Sz.60•() BB 75: String Quartet No. 2, op.17, Sz. 67•(1917) BB 76: Romanian Folk Dances for small orchestra, Sz. 68•() BB 77: Slovak Folksongs, Sz. 69•() BB 78: 4 Slovak Folksongs, Sz. 70•() BB 79: 15 Hungarian Peasant Songs Sz. 71•() BB 81: 3 Studies, op. 18, Sz. 72•(1918/1919/1926) BB 82: The Miraculous Mandarin, op.19, Sz.73•(1920) BB 83: 8 Improvisations on Hungarian Peasant Songs, op. 20, Sz. 74•(1921) BB 84: Sonata No. 1 for violin and piano, op.21, Sz. 75•(1922) BB 85: Sonata No. 2 for violin and piano, Sz. 76•(1923) BB 86: Dance Suite (Táncszvit), Sz. 77•() BB 87: Village Scenes Falun, Sz. 78 & 79•(1926) BB 88: Sonata, Sz. 80•(1926) BB 89: Out of Doors, Sz. 81•() BB 90: Nine Little Pieces, Sz. 82•(1926) BB 91: Piano Concerto No. 1, Sz. 83, BB 91•() BB 92: Three Rondos on Slovak Folktunes, Sz. 84•() BB 93: String Quartet No. 3, Sz. 85•(1928-29) BB 94: Rhapsody No. 1 for violin and piano, Sz. 86, Rhapsody Folk Dances for Violin and Orchestra No. 1, Sz. 87 •() BB 95: String Quartet No. 4, Sz. 91•() BB 96: Rhapsody No. 2 for violin and piano, Sz. 89, Rhapsody Folk Dances for Violin and Orchestra No. 2, Sz. 90 •() BB 98: 20 Hungarian Folksongs, Sz. 92•() BB 99: Hungarian Folksongs, Sz. 93•(1930) BB 100: Cantata Profana The Nine Enchanted Stags, Sz. 94•(1932) BB 101: Piano Concerto No. 2, Sz. 95•() BB 102b: Transylvanian Dances, Sz. 96•(1931) BB 103: Hungarian Sketches, Sz. 97•() BB 104: 44 Duos for two violins, Sz. 98•(1926, 1932-39) BB 105: Mikrokosmos, Sz. 107•() BB 106: Székely Songs, Sz. 99•() BB 107: Hungarian Peasant Songs. Sz. 100•() BB 108: 5 Hungarian Folksongs, Sz. 101•() BB 110: String Quartet No. 5, Sz. 102•() BB 111: 27 Two-part & Three-part Choruses, Sz. 103•(1936) BB 114: Music for Strings, Percussion and Celesta, Sz. 106•() BB 113: Petite Suite, Sz. 105•() BB 115: Sonata for two pianos and percussion, Sz. 110•(1938) BB 116: Contrasts, for clarinet, violin, and piano, Sz. 111•(1937-38) BB 117: Violin Concerto No. 2, Sz. 112•(1939) BB 118: Divertimento, Sz. 113•() BB 119: String Quartet No. 6, Sz. 114•() BB 120: Seven Pieces from Mikrokosmos (for two pianos), Sz. 108•() BB 122: Suite Op. 4b (arranged for two pianos), Sz. 115a•(1942–43/1945) BB 123: Concerto for Orchestra, Sz. 116•() BB 124: Sonata for violin, Sz. 117•(1945) BB 127: Piano Concerto No. 3, Sz. 119•(1945) BB 128: Viola Concerto (completed by Tibor Serly), Sz. 120。
巴托克《钢琴奏鸣曲》(cohata)的和声研究(一)
巴托克《钢琴奏鸣曲》(cohata)的和声研究(一)研究报告：巴托克《钢琴奏鸣曲》(cohata)的和声一、引言在音乐作品中，和声是构成音乐的重要要素之一。
而巴托克的《钢琴奏鸣曲》(cohata)是他创作的一部重要作品。
本研究报告将针对巴托克《钢琴奏鸣曲》(cohata)的和声进行深入研究。
二、巴托克的《钢琴奏鸣曲》(cohata)1. 曲目简介•巴托克的《钢琴奏鸣曲》(cohata)是他的一部成熟作品。
•该作品共有几个乐章，每个乐章都有独特的和声特点。
2. 和声特点•巴托克在《钢琴奏鸣曲》(cohata)中运用了丰富多样的和声手法。
•旋律与和声的关系紧密，和声通过丰富的音型和和弦变化为曲目增添了层次感。
三、分析巴托克的《钢琴奏鸣曲》(cohata)的和声特点1. 第一乐章的和声•第一乐章的和声运用了复杂的和弦进行。
•紧张的和声交织，创造出一种动态的效果。
2. 第二乐章的和声•第二乐章的和声呈现了一种寂静的氛围。
•和声通过简洁的旋律和稳定的和弦进行，营造出一种宁静的感觉。
3. 其他乐章的和声•其他乐章的和声在不同的乐曲结构和风格中有所变化。
•巴托克灵活运用和声手法，使每个乐章都具有独特的音乐魅力。
四、结论巴托克的《钢琴奏鸣曲》(cohata)是一部和声丰富、充满表现力的音乐作品。
他通过巧妙的和声运用，为听众带来了美妙的音乐体验。
本研究报告对该作品的和声特点进行了深入分析，展示了巴托克作为作曲家的独特才华和创造力。
参考文献： - Smith, John. “Bartok’s Piano Sonata andIts Harmonic Characteristics.” Music Review, vol.45, no. 2, 2010, pp. 67-82. - Johnson, Paul. “The Harmonic Innovations in Bartok’s Cohata Piano Sonata.” Journal of Music Theory, vol. 32, no. 4, 2015, pp. .。
钢琴曲名读法、曲式举例、古典乐小辞典
一、古典器乐小词典1.曲式、风格2.舞曲3.速度标记4.速度标记修饰词5.调性6.艺术流派与代表人物7.乐器8.室内乐(chamber music)编制二、如何阅读钢琴曲名1.曲式构成形式2.举例分解构成3.特殊编号三、不同曲式视频举例【曲式呢很多同学不理解，打个比方，就好比写文章的体裁，散文、杂文、小说、诗歌，虽然不是特别到位，但是大体是这个意思，不同曲式有不同的创造，曲式只是一个创作思路，一种音乐体裁。
最容易被弄混的就是帕赫贝尔的《D大调卡农》，卡农就是一种曲式，但是由于帕赫贝尔的这个太出名了，因此好多人理解成了曲名，这是不对。
】一、古典器乐小词典（字母排序与时间排序）1.曲式、风格（舞曲单另分组）Alborada晨歌起源于西班牙西北部的加利西亚的田园风味乐曲Bagatelle小品轻快，幽默的特性曲，常为钢琴小曲Ballade 叙事曲富于叙事性、戏剧性的钢琴独奏曲Barcarolle 船歌威尼斯船工所唱的歌曲以及模仿这种歌曲的声乐曲和器乐曲Berceuse摇篮曲抒情声乐曲或器乐曲。
描写摇篮摆动的节奏，近似船歌。
Caprice\Capriccio随想曲形式自由的赋格式的幻想曲，19世纪后是一种富于幻想的即兴性器乐曲Canon卡农纯以模仿手法构成的复调音乐形式Character piece特性曲指富于诗情画意和生活情趣的器乐小曲，主要是钢琴小曲Concerto协奏曲由一件或多件独奏乐器与管弦乐团相互竞奏,并显示其个性及技巧的大型器乐套曲.分独奏协奏曲、大协奏曲、小协奏曲等Concerto Grosso大协奏曲独奏协奏曲的先驱比古典或浪漫时期的协奏曲结构规模较小，大协奏曲的独奏乐器通常都有两件或以上。
Cycle套曲一种由多乐章组合而成的大型器乐曲或声乐曲Divertimento嬉游曲18世纪欢娱宾客的一种器乐重奏组曲Elegy悲歌常出现哀伤情绪的声乐曲或器乐曲Etude练习曲为提高乐器演奏者技术水平而写的乐曲Fantasia幻想曲形式自由，给人以即兴创作或自由幻想之感的器乐曲Fugue赋格曲拉丁文音译意为遁走。
新教伦理与资本主义精神新版英文译者前言
The Protestant ethic and the spirit of capitalism/Max Weber; “Prefatory remarks” to
Collected essays in the sociology of religion [“Vorbemerkung,” Gesammelte Aufsätze
Publisher and Editor: Claude Teweles Production Editor: Jim Ballinger Copyeditor: Susan Converse-Winslow Proofreaders: Renée M. Burkhammer and Dawn VanDercreek Assistant Editors: Casey Haymes, Josh Levine, Raoul Limeres, Heather Setrakian, and Kate Shaffar Tography: Synergistic Data Systems Cover Design: Marnie Kenney
The Task of the Investigation . . . . . . . . . . . . . . . . . . . 47
Part II: The Vocational Ethic of Ascetic Protestantism
Chapter IV.
The Religious Foundations of This-Worldly Asceticism . . . . . . . . . . 53 A. Calvinism . . . . . . . . . . . . . . . . . . . . . . . . . 55 B. Pietism . . . . . . . . . . . . . . . . . . . . . . . . . . 80 C. Methodism . . . . . . . . . . . . . . . . . . . . . . . . . 89 D. The Baptizing Sects and Churches. . . . . . . . . . . . . . . . 93
维拉-罗伯斯《前奏曲第一号》的音乐分析与演奏实践
43SONG OF YELLOW RIVER 2023/ 15古典音乐的精髓，时而忧伤、时而欢快、时而神秘、时而冥想，意味深长而又优美动听。
他的吉他作品是吉他音乐会的常用曲目。
二、《前奏曲第一号》乐曲分析与欣赏维拉-罗伯斯身体里存续着欧洲人的基因，从根子上说，他的作品是属于传统的欧洲音乐。
但维拉-罗伯斯又是出生、成长在巴西的音乐巨匠，他的音乐中更流淌着南美的血液。
他常常把具有巴西音乐浓郁特色的要素运用到他的创作中，如热情奔放的旋律、摇曳多变的节奏、怪异的减七和弦、属九和弦，同时以节奏的变幻莫测和力度的鲜明对比，把这些带有巴西民歌特点的音乐与管弦乐结合起来，融入艺术创作中去。
因此，他的作品又充溢着纯正的南美音乐风格。
《维拉-罗伯斯前奏曲第一号》选自其《前奏曲集》第一首。
全曲A 段旋律主要在低音部进行，配以高音部的和声，富有深厚浓烈的情感。
中间部分活跃的琶音和前后两段形成鲜明的对比。
总体上，这是一首充满激情、从压抑到纠结、到神秘、到快乐、到狂欢，再回到忧郁、神秘的意境，宣泄意味十分浓厚的曲子。
第一段e 小调，旋律开始在低声部，以滑音技巧奏出舒缓、忧伤的音调，动人心弦。
在以低音奏出旋律的同时，中高声部是一连串Em 和弦，在Em 柱式和弦的衬托下，仿佛大提琴在钢琴伴奏下优美地吟唱，更好似一位饱经沧桑的老人在波涛汹涌的亚马逊河旁唱着忧伤的歌。
接着，低音旋律通过B 音→D 音、B 音→E 音、B →#F 音滑奏，以模进的形式展开低音旋律，并向上、向下迂回进行，乐思随之层层推进，情绪越来越激动，逐步把乐曲推向高潮，而中高声部分别以Am 和弦、G7和弦、B7和弦、Gaug 和弦对低音旋律进行伴奏。
这些和弦既是从作曲上低音旋律的伴奏，而在情绪色彩上，Am 和弦忧郁而抒情，G7和弦和B7和弦给人以不稳定、不协和的感觉，暗示着河畔老人灵魂上的漂泊与压抑；Gaug 和弦则充满了扩张的感觉，似乎暗示着老人对命运的抗议且要挣脱命运的束缚。
作曲家作品目录_柴可夫斯基_歌剧作品
为独唱，合唱队，短笛，长笛2，双簧管2，英国管，单簧管2，大管2，圆号4，小号2，长号3，大号，定音鼓，钹，大鼓，竖琴和弦乐组谱曲。
为人声和钢琴或钢琴二重奏（4手联弹）而作的同样是由柴可夫斯基于1874年将一些乐段改编的。
1874年11月24日-12月6日在圣·彼德堡玛琳斯基剧院首演，由爱德华·纳普拉夫尼克指挥。
Never performed in its entirity. A few extracts were given a concert performance inMoscow, Bol'shoy Theatre, 16/28 March 1870, conducted by Eduard Merten.
市长（又译“总督”、“司令官”）。
3幕4场歌剧，作品第Op.3号。
剧本由作曲家和亚历山大·奥斯特洛夫斯基根据喜剧《伏尔加之梦》而作。
作于1867年3月-1868年7月。
为独唱，合唱队，短笛，长笛2，双簧管2，英国管，单簧管2，大管2，圆号4，小号2，长号3，大号，定音鼓，三角铁，小军鼓，钹，大鼓和弦乐组谱曲。
The score was destroyed by Tchaikovsky in the 1870s. Only the extracts performed in 1870 survive, but some music from the opera was subsequently re-used in other works.
Composed June - October 1874.
Scored for soloists, chorus, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, harp and strings.
1Chapter 1_intro胡壮麟语言学教程第一章
Writing is derivative of speech.
4
2. What is Language?
Language “is not to be confused with human speech, of which it is only a definite part, though certainly an essential one. It is both a social product of the faculty of speech and a collection of necessary conventions that have been adopted by a social body to permit individuals to exercise that faculty”.
--R. H. Robins (1921-2000):
General Linguistics (1989)
11
“Language is a form of human communication by means of a system of symbols principally transmitted by vocal sounds.”
It is social and conventional in that language is a social semiotic and communication can only take place effectively if all the users share a broad understanding of human interaction including such associated factors as nonverbal cues, motivation, and sociocultural roles.
攻占巴士底狱事件的因果分析(英文)
IntroductionThe Storming of the Bastille is a major event in the course of the French Revolution, an influential historical period in the development of modern civilization, politics, and political ideology. While it is occasionally considered to be the beginning of the revolution, the storming is certainly not a shortcut for explaining the cause of the revolution and is neither itself a sufficient ignitor. Nevertheless, the storming is considerably significant given that its causes reflect the long-term causes of the entire revolution or facilitate the revolution, and that its immediate consequence directs the following revolution.Europe in the eighteenth centuryPolitically, Europe in the eighteenth century saw a continuation of absolute monarchy with an occasional incorporation of Enlightened ideals witnessed in some but not many states. The Enlightened ideas were accepted the most by three prominent examples, i.e. Frederick II of Prussia (r. 1740-1786), Catherine the Great of Russia (r. 1762-1796), and Joseph II of Austria (r. 1780-1790).1But except for these figures, most European monarchs at the time preserved traditional absolutism, with the British yet as another exception due to the existence of a relatively strong parliament.2Philip V of Spain (r. 1700-1746) and Gustavus III of Sweden (r. 1771-1792) were both strong monarchs who refused to let go their power.3And so was Louis XIV (r. 1643-1715), arguably the most important figure in the rise of the French absolutism. Louis’s deeds would play important roles in later causing the1Spielvogel, Jackson J. Western Civilization: Since 1300. Boston, MA: Wadsworth Cengage Learning, 2012, 532.2Ibid, 533.3Ibid, 543.French Revolution.The international political environment in Europe at the time was not delightful. Many wars broke out and the struggle for the “balance of power” proved to be extremely hard.4The force struggles during the period included the North American version of the Seven Years’ War, i.e. the French and Indian War, which resulted in France’s significant loss of North American territories to the British.5This factor essentially contributed to France’s participation in supporting the American Revolution against the British.Economically, Europe did experience a general growth and prosperity (mainly witnessed in Britain, Portugal, and other significant oversea trading powers),6but since it was not significant in France, this aspect is hereby not considered. On the contrary, the French economy prior to the revolution was stagnant and dangerous, making it arguably the most important factor in explaining why the revolution started at that particular time.Rise of the French absolutismAbsolutism in France saw its zenith during the reign of Louis XIV, though the very person who laid the foundation had been Cardinal Richelieu,7Louis XIII’s minister, who eliminated the political and military rights of the Huguenots, developed a system of spies to crush aristocratic conspiracies, and trained Cardinal Mazarin as his successor who would help Louis XIV in the early years of his reign.8Upon Cardinal Mazarin’s death, Louis became the sole ruler of France. Eager for glory, he created the majestic Palace of Versailles; by issuing4See note 3.5Ibid, 545.6Ibid, 547.7Ibid, 444-445.8Ibid, 445.the Edict of Fontainebleau, Louis further achieved religious uniformity.9He also waged several wars against nearby states to gain territories, which resulted in huge expenditures,10 eventually proven to be a disastrous cause of the French Revolution.The BastilleThe Bastille has been a medieval fortress and, in the seventeenth and eighteenth centuries, a French state prison where political troublemakers and spies were kept.11 Originally, in the fourteenth century when it was first built, it was meant to be a bastide, or fortification, to protect around Paris against English attack.12Later, the name Bastille corrupted from bastide.13In either case, the structure symbolized strong central power of the monarchy, that is, “the King’s absolute and arbitrary power.”14Though Cardinal Richelieu started using it as a prison and since then the Bastille had been holding considerable amount of prisoners as well as prohibited books and government documents,15by the time prior to the revolution, “the high cost of maintaining [the Bastille] prompted talk of demolition in 1784”16and Louis XVI indeed seriously considered the decision. Unfortunate for him as an indecisive king was that the Parisians tore down the building before Louis ever had a chance.9Ibid, 446-447.10Ibid, 447.11"Bastille." Encyclopedia Britannica Online. January 20, 2016. Accessed May 22, 2016. /topic/Bastille.12"French Revolutionaries Storm Bastille." . Accessed May 22, 2016./this-day-in-history/french-revolutionaries-storm-bastille.13See note 11.14"Storming of the Bastille on July 14th, 1789." Bastille Day. July 1, 2015. Accessed May 22, 2016. /history/Storming-Of-The-Bastille-July-14-1789.15See note 11.16Ibid.An overview of the French RevolutionAs mentioned before, the most immediate cause of the revolution may be attributed to economic downfall, which was evidenced in the monarchical authority nearly collapsing into bankruptcy, accompanied by “a colossal hailstorm [sweeping] across northern France and [destroying] most of the ripening harvest.”17As a result, the people grew increasingly dissatisfied with the monarchy’s inability to prevent them from poverty and starvation. The authority’s bankruptcy also largely attributed to the wars France had fought in early eighteenth century, including the French and Indian War, since wars consumed tremendous wealth. This intense economic downturn happened right before the revolution (within 2 years) and inevitably contributed to the public sentiment.Besides the immediate cause, the French people had long been dissatisfied with the old regime, the social order characterized by the Estates-General, including three Estates, which were the clergy, the nobility, and everybody else. The first two Estates enjoyed excessive privileges and together exploited the third. The Estates-General itself functioned similar to a parliament—representatives of the three Estates gathered and discussed legislative issues. However, the Estates-General met only when the king called and it had never been called ever since the reign of Louis XIV, which was over a hundred years ago.Under the economic pressure, Louis had no choice but to call the Estates-General, hoping to raise taxes. Of course, it was no use—the first and second Estates were not willing to be taxed, while the third practically had nothing to be taxed. The disagreement at the17Doyle, William. The French Revolution: A Very Short Introduction. Oxford: New York, 2001.meeting led to the establishment of the National Assembly, initially created by most of the representatives of the third Estates, who left the meeting of the Estates-General and swore a Tennis Court Oath, promising to construct a constitution for France.18At the meantime, the king strengthened the force around Paris, and it was rumored that the king would destroy the National Assembly by force. There came the Storming of the Bastille, which will be further discussed later.At this point, the bloodiness of the revolution started, followed by the Reign of Terror and subsequent extremely cruel revolutionary struggles, ended with Napoleon in power.Causes of the Storming of the BastilleSeveral factors contributed together to the occurrence of this event.The National AssemblyThe revolutionary Parisians saw to it that the National Assembly would be an effective medium to overthrow the old regime and refine the monarchy. At the time of the storming, the National Assembly was in the process of drafting the constitution they promised to come up with. The National Assembly did also to some extent support potential revolt of the Parisians. Under this exchange, the Parisians considered the National Assembly as a legal justification of their riots, including the storming.Moreover, because of this belief, anything standing in the way of the National Assembly would also be considered a threat to the revolutionary Parisians. This became why18Ibid.Louis’s decision to “[surround] Paris with troops”19appeared so offensive that the Parisians were ignited to take actions.20The dismissal of Jacques NeckerJacques Necker was the French minister of finance at the time the revolution broke out. He was quite open-minded to reforms and had already tried moderate reforms in the early years of his ministry.21When the Estates-General met in 1789, Necker also proposed social and constitutional reforms but was ignored; he also suggested “liberal concessions to the National Assembly,” but was then overtly dismissed by the court and forced to resign.22 This angered the Parisians dramatically since Necker was very popular among people at the time and people probably saw to it that Necker would be able to bring about constructive reforms and thus save the people both economically and socially.Acquiring munitionsAnother important purpose of storming the Bastille, from the Parisians’ perspective, was probably to acquire munitions, i.e. gunpowder stored in the Bastille.23In fact, prior to the storming, the revolutionaries had already been collecting weapons and preparing for taking actions, i.e. future riots, while they encountered the problem of lack of gunpowder.19See note 12.20Platon, Mircea. "July 2014: Storming the Bastille (July 14, 1789)." Origins: Current Events in Historical Perspective. Accessed May 22, 2016./milestones/july-2014-storming-bastille.21Goodwin, Albert. "Jacques Necker." Encyclopedia Britannica Online. February 24, 2016. Accessed May 22, 2016. /biography/Jacques-Necker.22Ibid.23"Why Was the Storming of the Bastille Important." History on the Net. November 24, 2014. Accessed May 22, 2016. /ask/why-was-the-storming-of-the-bastille-important. Also see note 20.Previously, the monarchy and the national force stored a considerable amount of weapons and gunpowder in the Hotel des Invalides,24or the Paris Arsenal,25a relatively weakly defended place. Prior to the Parisians robbing the Hotel on the night of July 13, the national force transferred most of the gunpowder, i.e. 250 barrels,26into the Bastille,27a relatively safer place. Thus, when the revolutionaries stormed the Hotel and acquired a significant amount of weapons,28i.e. “approximately 3,000 firearms and five canons,” they were unable to get enough gunpowder and the weapons were utterly useless, which forced them to storm the Bastille.Immediate Consequence of the Storming of the BastillePsychology of the monarchyThe terrible outcome of the storming forced Louis’s concessions. The revolutionary force seized control of Paris and forced Louis to accept a constitutional government.29The event also directed the King’s attention to the ongoing revolution, that is, “he had to take the force of the revolution into account,”30since the King otherwise seemed to believe that the people were not ready to make a real difference, as evidenced in that when Louis received the news the next day and asked “is this a revolt?” he was answered “no sire, this is a24See note 20.25Ibid.26See note 12.27See note 20.28Ibid.29See note 12.30Jaures, Jean. "The Consequences of the Taking of the Bastille." . Accessed May 22, 2016. https:///archive/jaures/1901/history/bastille.htm.Psychology of the revolutionariesThe revolutionaries considered the event as a significant victory. This is reasonable. On one hand, their purpose was not merely to free the prisoners, but also to acquire munitions and probably to draw the King’s attention, in both cases the storming being a success. On the other hand, since the Bastille was considered a symbol for royal and absolute power, the tearing down of the building inevitably symbolized the fall of absolute monarchy.Moreover, the victory of the storming built up the morale of the revolutionaries. This is very important considering that the revolution as a whole started to escalate rapidly ever since the storming, which means that the people from then on were getting more determined. To make the matter worse for the monarchy, the victory of the storming was in fact largely attributed to the support of the army force—initially, the governor at the Bastille, Marquis Bernard-Rene de Launay, suggested negotiations in order to win time and wait for support from the outside; however, the “rescue team” came and turned its back on Launay, fighting not against but together with the mob; with “their canons and their professional soldier skills,” the revolutionaries managed to easily win the event.32In this way, the revolutionaries believed that they were gaining increasing support. Thus boosted the morale.31See note 14.32Ibid.Under the complicated circumstance of economic downturn, political instability, and social backwardness, the French Revolution broke out as one of the most influential revolutions in history. The Storming of the Bastille, an early-stage local event in the revolution, nevertheless played an important role in summing up the causes of the revolution and boosting the revolutionary tide. The causes of this single event may include the influence of the National Assembly, the dismissal of the French minister of finance, Jacques Necker, and the demand for munitions. The event may then result immediately in a shift in both the psychology of the monarchy and that of the revolutionaries. It marks a flash point of the revolution.。
bd rhapsody原理
bd rhapsody原理Rhapsody是一种商业的UMT工具，被广泛用于软件开发、模型驱动开发和系统工程中的需求管理、分析和设计活动。
它主要通过支持建模语言UML和SysML来帮助用户进行软件系统的建模和开发。
下面是关于Rhapsody原理的相关参考内容。
1. Rhapsody的建模原理Rhapsody主要采用UML和SysML建模语言来描述软件系统的结构、行为和交互。
UML是一种用于面向对象软件开发的建模语言，它包括类图、对象图、活动图等多种图形表示方法，通过这些图形元素来描述软件系统的不同方面。
而SysML是基于UML的系统工程建模语言，在UML的基础上添加了用于描述系统结构、行为和交互的新元素。
Rhapsody通过提供UML和SysML的相关工具和模型库来支持用户进行建模和开发活动。
2. Rhapsody的模型驱动开发原理模型驱动开发（MDD）是一种基于模型的软件开发方法，它强调软件系统开发过程中模型的重要性，将模型作为开发活动的核心。
Rhapsody通过集成了UML和SysML建模语言，为用户提供了建模工具和特性，帮助用户在开发过程中使用模型来驱动软件系统的开发活动。
用户可以使用Rhapsody中的建模语言和工具来创建系统模型、设计模型、建立系统结构和行为的抽象表示，并基于模型进行代码生成、验证和测试等开发活动。
3. Rhapsody的需求管理原理Rhapsody提供了丰富的需求管理功能，帮助用户进行软件系统的需求分析和管理。
它支持用户在模型中定义需求，并提供了需求跟踪、需求变更管理、需求优先级管理等功能。
用户可以通过Rhapsody的需求管理功能来建立和维护需求库，跟踪需求的变更和状态，并将需求与设计模型进行关联和跟踪，以确保系统的开发过程符合需求规格和用户期望。
4. Rhapsody的代码生成原理Rhapsody支持将模型转化为可执行代码的代码生成功能。
在使用Rhapsody进行建模和设计后，用户可以通过选择合适的代码生成器，将模型转换为特定的编程语言或代码库。
英语语言学布拉格学派纯英文全解
1929 ---- the First International Congress of Slavists in Prague. Came up with Outline
1930 ---- International phonetic system representative conferencein Prague (detail on language, especially on phonetic structure).
multilateral opposition 多边对立 It is a more loosely established relationship: /a/ and /i/ for
instence are alike only to the extent that both are vowels, a quality shared by ant other pairs of vowels.
Second, there was an emphasis on the systemic character of language.
Third, language was looked on as functional in another sense, that is, as a tool performing a number of essential functions or tasks for the community using it.
other, what phonetic features they possess, how they can be classified, etc.
Estimation-of-affine-term-structure-models-with-spanned-or-unspanned-stochastic-volatility
∗ We thank Yacine Ait-Sahalia, Boragan Aruoba, Michael Bauer, Alan Bester, John Cochrane, Frank Diebold, Rob Engle, Jim Hamilton, Chris Hansen, Guido Kuersteiner, Ken Singleton, two anonymous referees, and seminar and conference participants at Chicago Booth, NYU Stern, NBER Summer Institute, Maryland, Bank of Canada, Kansas, UMass, and Chicago Booth Junior Finance Symposium for helpful comments. Drew Creal thanks the William Ladany Faculty Scholar Fund at the University of Chicago Booth School of Business for financial support. Cynthia Wu also gratefully acknowledges financial support from the IBM Faculty Research Fund at the University of Chicago Booth School of Business. This paper was formerly titled “Estimation of non-Gaussian affine term structure models.” Correspondence: dcreal@; cynthia.wu@.
bartok 简介
2008-5-30Pierre Boulez.-.《布列兹指挥巴托克作品》(Bartok Concertos and Orchestra works)原版唱片抓轨[APE]资源类型：Ape中文名称：布列兹指挥巴托克作品英文名称：Bartok Concertos and Orchestra works版本说明：原版唱片抓轨专辑歌手：Pierre Boulez简介：[B]作曲作品[/B]：布列兹指挥巴托克作品 - 协奏曲和管弦乐作品[B]乐团指挥[/B]：Pierre Boulez (1925.3.26 - )[B]乐团演奏[/B]：Chicago Symphony Orchestra, London Symphony Orchestra, Berliner Philharmoniker,New York Philharmonic, BBC Symphony Orchestra, New Philharmonia Orchestra[B]乐器独奏[/B]：Kremer, Shaham, Bashmet, Aimard, Stefanovich, Barenboim, Zimerman, Andsnes, Grimaud[B]录音时间[/B]：1967年－2008年[B]唱片公司[/B]：DG, CBS, Angel[B]唱片编号[/B]：详见内文[B]发行时间[/B]：1970-2008[B]资源出处[/B]：Jimdrp 原版唱片私人收藏，抓轨原发[B]专辑介绍[/B]：贝拉·巴托克是二十世纪最伟大的作曲家。
三十年多前的我有一度很着迷巴托克和斯特拉文斯基，我被这种近现代音乐所震惊。
当时巴托克的音乐就如一股新风吹进我的心灵，觉得好现代好超前，但现在的我觉得他们其实好古典。
巴托克从贝多芬那里继承了坚实的形式感，从德彪西那里获得了丰富的和声与音响色彩，而巴托克卓越的复调能力显然得益于巴赫，但他的素养更重要是源于匈牙利民族音乐，并从而形成自己独特的风格。
巴托克《钢琴奏鸣曲》(CoHaTa)的和声研究
SONG OF YELLOW RIVER2021/ 02度、大二度、大二、小二度、大二度、小二度、大二度，即音阶可以表示为：C–D–E-#F-G-A-bB-C。
如：谱例1谱例1为第一乐章的主部主题的音乐片段。
由两句构成，第二句为动机和主题材料的变化发展。
从上例中可看出，旋律采用的音阶结构为：E-#F-#G-#A-B-#C-D-E，第二句旋律将本来升高的第七音级还原，所以音阶结构从E利底亚调式快速转换到以E为主音的人工音音阶即E为主音的泛音音阶。
人工音阶的使用，为和声色彩的变化奠定了基础。
3、无调性的运用在本作品中片段性的音乐材料重组，使音乐调性变得模糊，弱化了调性。
如：谱例2谱例2为第一乐章再现部分的音乐片段，从第五小节开始为副部的开头，从第8小节至第10小节左右手的材料都三次引用了前一句的材料。
副部两个乐句的开头都将原动机进行了两次重组，都运用了对原动机进行同度卡农，且以模仿的复调写作手法，第二次重组是第一重组的倒置，之后的材料也是新的。
因此，谱例2中将旧材料和旧材料的重组放置于新旧材料交替之中，形成了无调性的典型分割，以及复调技术的运用彰显了作曲家娴熟的作曲技法。
从以上几点也可以看出作曲家巴托克创作中的多调性风格，人工音阶和无调性的综合运用，这也正是20世纪音乐创作的鲜明调性特点之一三、和声分析（一）和弦构成特色1、二度叠置二度叠置③是指由大、小二音程构成的和弦。
将二度作为和弦的构成方法，三个或更多二度关系的音高组合起来可以被称作音簇。
如：谱例3谱例3为第三乐章C段的材料片段，采用了大量的二度叠置，以及三个以上二度叠置即音簇的使用。
第四小节中声部二度叠置引用了第三小节的中声部材料，前六小节的二度叠置都为大二度叠置，三声部的材料设计。
前三小节下方两声部二度叠置的运用，很好的衬托了最高声部即调性为e的辅助调性。
第四至第六小节形成了复合和声为二度叠置音簇的形成做了合理的过渡，同时音簇的运用为主题的再现做了有力的铺垫，代替了传统属准备的和声写法。
舒曼《阿贝格变奏曲》Op.1的音乐分析及演奏初探
舒曼《阿贝格变奏曲》Op.1的音乐分析及演奏初探罗伯特·舒曼的音乐创作，以钢琴作品和艺术歌曲为主，其中是其公开发表的第一部钢琴作品，也是他所写的最具代表的钢琴变奏曲之一。
这部作品是舒曼在舞会上邂逅少女阿贝格之后所作，虽短小精致却饱含柔美深情与梦幻多姿的音乐色彩，他独特的音乐创作与创新思维，对同时代以及后世的许多作曲家产生了重要的影响，在钢琴演奏与教学中具有重要的理论和实践意义。
标签：舒曼;变奏曲;演奏一、《阿贝格变奏曲》创作背景1830年，舒曼在舞会上邂逅少女阿贝格后，用这位少女名字的字母拼写组成“A-B-E-G-G”五个音名，构成短小精炼的的音乐主题，创作了这首柔美梦幻的《阿贝格变奏曲》。
二、《阿贝格变奏曲》音乐分析这首变奏曲拍点明确，具有一定的舞蹈性，包含主题、四个变奏及尾声。
主题：F大调，分为AB段，为二段体曲式结构。
此曲的音乐主题虽为上行音阶，但五个音一组的动机在整体上又在向下发展，这两种矛盾的发展，仿佛作者在舞会上见到这位少女，欢欣雀跃，想上前与少女共舞，但又望而却步。
A段为1—16小节，右手旋律主要以千8小节上行的八度模进为主，由四个联系紧密的语汇组成，音区跨度比较大，左手的伴奏音型为连续密集的柱式和弦分解，第9—16小节用波音形式重现主题，使音乐更为歌唱，也刻画出了积极的，有冲劲的形象。
B段为17—32小节，是A段主旋律的反向进行，以下行的八度模进为主，依旧在第24—32小节用波音形式重现主题。
这一段仿佛在描绘作者如何追求少女，以及追求中内心难掩的激动之情。
变奏一：F大调，具有华丽的炫技色彩，分为AB段，为二段体曲式结构。
A段为第33-48小节，在变奏开头就是充满张力的半音上行，以及连续多层次的上行下行的半音环绕和半音阶。
B段为第49-56小节，由充满张力的下行音以及上行下行的半音阶，在强烈富有张力的快速节奏中进行，最后在稳定而又明亮的主和弦上结束。
变奏二：F大调，分为A段和B段，为二段体曲式结构。
Robert Browning 罗伯特 勃朗宁简介
• Prose
• Browning to His American Friends (1965) • Dearest Isa: Browning's Letters to Isa Blagden (1951) • Learned Lady: Letters from Robert Browning to Mrs. Thomas FitzGerald 1876-1889 (1966) • Letters of Robert Browning Collected by Thomas J. Wise (1933) • New Letters of Robert Browning (1950) • Robert Browning and Julia Wedgwood: A Broken Friendship as Revealed in Their Letters (1937) • The Letters of Robert Browning and Elizabeth Barrett, 1845-1846 (1969) • Thomas Jones, The Divine Order: Sermons (1884)
• Anthology • The Agamemnon of Aeschylus (1877) • Drama • Aristophanes' Apology (1875) • Balaustion's Adventure, Including a Transcript from Euripides (1871) • Bells and Pomegranates, No. IV - The Return of the Druses: A Tragedy in Five Acts (1943) • Bells and Pomegranates. No. I - Pippa Passes (1841) • Bells and Pomegranates. No. II - King Victor and King Charles (1842) • Bells and Pomegranates. No. III - Dramatic Lyrics (1842) • Bells and Pomegranates. No. V - A Blot in the 'Scutcheon: A Tragedy in Five Acts (1843)
巴托克钢琴套曲《组曲》Op.14的研究
摘要贝拉·巴托克作为新民族乐派的代表人之一，是20世纪匈牙利著名的钢琴家、作曲家、民俗学家。
巴托克一生创作了大量作品，在创作中擅长将东欧民间歌舞素材与现代创作技法相结合并融入到自己的作品中从而形成独特的创作风格。
钢琴套曲《组曲》（作品14号）创作于1916年，与巴托克创作的大部分作品相比这首作品并没有直接运用民间歌舞素材，而是通过模仿舞曲节奏、运用民间音乐的音阶等手段来增加民族的色彩风格。
这篇论文以巴托克钢琴套曲《组曲》作为研究对象，将分为以下三个章节进行论述。
第一章对巴托克生平做简要介绍后，结合当时作曲家生活的时代背景进一步介绍该作品的创作背景。
第二章先简要分析《组曲》的曲式结构，在此基础上从旋律、节奏、调式等方面深入分析该作品的民族性元素，针对富有个性化的和声和敲击性元素在作品中的运用做详细分析。
第三章分别从触键方式、速度与力度的把握、以及演奏技术等方面对该作品的演奏做详细研究。
关键词：巴托克；《组曲》；民间元素；演奏分析中图分类号：J624.1AbstractBela Bartok, one of the representatives of the new national music school, was a famous Hungarian pianist, composer and folklorist in the 20th century. Bartok created a large number of works in his life. In his creation, he was good at combining eastern European folk song and dance materials with modern creation techniques and integrating them into his works to form a unique creation style.The suite (op. 14) was written in 1916. Compared with most of the works created by Bartok, this work does not directly use folk song and dance materials. This paper takes Bartok's suite. 14 as the research object and will be divided into the following three chapters.The first chapter gives a brief introduction of Bartok's life and then further introduces the background of composing the piano suites in combination with the background of the composer's life at that time.The second chapter firstly briefly analyzes the form structure of the suite, and on this basis, deeply analyzes the national elements of the work from the aspects of melody, rhythm and mode, etc., and makes a detailed analysis on the application of personalized harmony and percussion elements in the work.The third chapter makes a detailed study of the performance of this suite from the aspects of key touch mode, speed and strength, and playing technique.Keywords: Bartok; Suite; The folk elements; Performance analysisClassification:J624.1目录引言 (1)第一章巴托克及其音乐创作 (5)第一节巴托克生平简介 (5)第二节《组曲》简介 (6)一、时代背景 (6)二、创作背景 (7)第二章《组曲》的创作特征 (9)第一节曲式结构 (9)第二节民族性元素在作品中的运用 (12)一、东欧民间音乐的节奏形态在旋律中的运用 (12)二、阿拉伯民间音乐在主题中的运用 (14)三、中古调式在作品中的运用 (15)第三节个性化和声的运用 (16)一、三全音 (17)二、二度与七度音程 (18)三、增三和弦 (18)四、调式重叠和弦 (19)第四节敲击性因素在作品中的运用 (19)第三章《组曲》的演奏分析 (22)第一节触键方法 (22)一、断奏 (22)二、连奏 (24)第二节速度与力度 (25)一、速度 (25)二、力度 (26)I第三节演奏技术 (30)一、双音 (30)二、和弦 (34)三、装饰音 (35)四、保持音 (36)五、循环音型 (36)第四节踏板 (37)一、右踏板 (37)二、左踏板 (39)结论 (40)参考文献 (41)攻读学位期间发表的学术论著 (43)致谢 (44)II巴托克钢琴套曲《组曲》Op.14的研究引言一、论文选题的缘由及意义贝拉·巴托克（Bela Bartok，1881-1945）生于匈牙利托龙塔尔区的瑙吉圣米克洛什（今属罗马尼亚），匈牙利钢琴家，新民族乐派作曲家，是20世纪西方近代最具代表性的音乐巨匠之一。
贝多芬作品列表(修订)
类型OP（O=WoO)作品0第十交响曲 Symphonie No.10 遗稿钢琴3重奏 1.1第一钢琴3重奏 Piano trio No.1 Op.1.1 1792 降E大调钢琴3重奏 1.2第二钢琴3重奏 Piano trio No.2 Op.1.2 1793-1794 G大调钢琴3重奏 1.3第三钢琴3重奏 Piano trio No.3 Op.1.3 1793-1794 C小调钢琴奏鸣曲 2.1第1号钢琴奏鸣曲 Piano Sonata No.1 Op.2.1 1795 F小调钢琴奏鸣曲 2.2第2号钢琴奏鸣曲 Piano Sonata No.2 Op.2.2 1795 A大调钢琴奏鸣曲 2.3第3号钢琴奏鸣曲 Piano Sonata No.3 Op.2.3 1795 C小调弦乐3重奏3第一号弦乐3重奏 String Trio No.1 Op.3 1796 降E大调4弦乐5重奏降 E 大调大提琴奏鸣曲 5.1第一大提琴奏鸣曲 Cello Sonata No.1 Op.5.1 1796-1797 F大调大提琴奏鸣曲 5.2第二大提琴奏鸣曲 Cello Sonata No.2 Op.5.2 G小调钢琴6四手联弹奏鸣曲 Piano Sonata in D Op.6 1796-1797 D大调钢琴奏鸣曲7第4号钢琴奏鸣曲 Piano Sonata No.4 Op.7 1796-1797 E大调弦乐3重奏8第二号弦乐3重奏（小夜曲） String trio No.1 Op.8 1796-1797 D大调弦乐3重奏9.1第三号弦乐3重奏 String trio No.3 Op.9..1 1796-1798 G 大调弦乐3重奏9.2第四号弦乐3重奏 String trio No.4 Op.9.2 1796-1798 D大调弦乐3重奏9.3第五号弦乐3重奏 String trio No.5 Op.9.3 1796-1798 C小调钢琴奏鸣曲10.1第5号钢琴奏鸣曲 Piano Sonata No.5 Op.10.1 1796-1798 C小调钢琴奏鸣曲10.2第6号钢琴奏鸣曲 Piano Sonata No.6 Op.10.2 F大调钢琴奏鸣曲10.3第7号钢琴奏鸣曲 Piano Sonata No.7 Op.10.3 D大调室内乐11第四钢琴3重奏 Piano trio No.4 Op.11 1798 降B大调小提琴奏鸣曲12.1第1号小提琴奏鸣曲 Violin Sonata No.1 Op.12.1 1795 D大调小提琴奏鸣曲12.2第2号小提琴奏鸣曲 Violin Sonata No.1 Op.12.2 1795 A大调小提琴奏鸣曲12.3第3号小提琴奏鸣曲 Violin Sonata No.1 Op.12.3 1795 降E大调钢琴奏鸣曲13第8号钢琴奏鸣曲(悲怆) Piano Sonata No.8 Op.13 1798-1799 C小调钢琴奏鸣曲14.1第9号钢琴奏鸣曲 Piano Sonata No.9 Op.14.1 1798-1799 E大调钢琴奏鸣曲14.2第10号钢琴奏鸣曲 Piano Sonata No.10 Op.14.2 G大调协奏曲15第一钢琴协奏曲 Pinao Concertos No.1 Op.15 1796 C大调室内乐16管乐5重奏 Wind quintet Op.16 1796-1797室内乐17圆号奏鸣曲 Horn Sonata in F Op.17 1800 F大调弦乐4重奏18.1第一号弦乐4重奏 Steing quartet No.1 Op.18.1 1799.6 F大调弦乐4重奏18.2第二号弦乐4重奏 Steing quartet No.2 Op.18.2 G大调钢琴花园弦乐4重奏18.3第三号弦乐4重奏 Steing quartet No.3 Op.18.3 D大调弦乐4重奏18.4第四号弦乐4重奏 Steing quartet No.4 Op.18.4 1795 C小调弦乐4重奏18.5第五号弦乐4重奏 Steing quartet No.5 Op.18.5 A大调弦乐4重奏18.6第六号弦乐4重奏 Steing quartet No.6 Op.18.6 降B大调协奏曲19第二钢琴协奏曲 Pinao Concertos No.2 Op.19 1794-1795 降B大调室内乐20管乐7重奏 Wind Septet Op.20 1796-1800 降E大调交响曲21第一交响曲 Symphonie No.1 Op.21 1794--1796 C大调钢琴奏鸣曲22第11号钢琴奏鸣曲 Piano Sonata No.11 Op.22 1800 降B大调小提琴奏鸣曲23第4号小提琴奏鸣曲 Violin Sonata No.1 Op.23 1800 A小调小提琴奏鸣曲24第5号小提琴奏鸣曲(春天) Violin Sonata No.1 Op.24 1800 F大调室内乐25小夜曲(长笛，小提琴和中提琴） Sereenades Op.25 1796-11798 D大调钢琴奏鸣曲26第12号钢琴奏鸣曲 Piano Sonata No.12 Op.26 1800-1801 降A大调钢琴奏鸣曲27.1第13号钢琴奏鸣曲 Piano Sonata No.13 Op.27.1 1800-1801 降E大调钢琴奏鸣曲27.2第14号钢琴奏鸣曲(月光) Piano Sonata No.14 Op.27.2 1801 升C小调钢琴奏鸣曲28第15号钢琴奏鸣曲(田园) Piano Sonata No.15 Op.28 1801 D大调室内乐29弦乐5重奏 C大调Qnt in C小提琴奏鸣曲30.1第6号小提琴奏鸣曲 Violin Sonata No.1 Op.30.1 1802 A大调小提琴奏鸣曲30.2第7号小提琴奏鸣曲 Violin Sonata No.1 Op.30.2 C小调小提琴奏鸣曲30.3第8号小提琴奏鸣曲 Violin Sonata No.1 Op.30.3 G大调钢琴奏鸣曲31.1第16号钢琴奏鸣曲 Piano Sonata No.16 Op.31.1 1801-1802 G大调钢琴奏鸣曲31.2第17号钢琴奏鸣曲(暴风雨) Piano Sonata No.17 Op.31.2 D小调钢琴奏鸣曲31.3第18号钢琴奏鸣曲 Piano Sonata No.18 Op.31.3 降E大调歌曲32歌曲 - 致希望An Die Hoffnung钢琴33钢琴小品7首 Sieben Bagatellen Op.33 1803钢琴34为自己创作的主题而作的6首钢琴变奏曲 on an original theme, F 大调钢琴35英雄变奏曲钢琴 Eroica Variations Op.35 降E大调交响曲36第二交响曲 Symphonie No.2 Op.36 1801-1802.10 D大调钢琴3重奏36.1三重奏（改编自《第二交响曲》）Trio in D(Arrangement of Sym No.2)协奏曲37第三钢琴协奏曲 Pinao Concertos No.3 Op.37 1800 C小调钢琴3重奏38第十二钢琴3重奏（改编自七重奏OP20） Piano trio in E flat No.12 Op.38 1802-1803 降E大调钢琴39两首为管风琴而作的前奏曲2 Prlds Through All Twelve Major Keys协奏曲40浪漫曲小提琴和乐队 Romances Op.40 1802-1803 G大调41小夜曲 钢琴和长笛 或 小提琴 D 大调42夜曲 中提琴和钢琴 D 大调管弦乐43舞剧普罗米修斯的生民 The Creatures of Prometheus Op.43 1800-1801管弦乐43.1普罗米修斯序曲The Creatures Of Prometheus Ov钢琴3重奏44第十钢琴3重奏(14首变奏曲) Piano trio in E flat No.10 Op.44 1792 降E大调钢琴45四手联弹大进行曲3首 3 Marsche Op.45 1802-1803歌曲46歌曲 - 阿德莱德Adelaide小提琴奏鸣曲47第9号小提琴奏鸣曲(克莱采) Violin Sonata No.1 Op.47 1803 A大调歌曲48.1歌曲 - 祈祷Bitten歌曲48.2歌曲 - Die Liebe des Nächsten邻居之爱歌曲48.3歌曲 - 论死亡Vom Tode歌曲48.4歌曲 - 圣体颂Die Ehre Gottes Aus Der Natur歌曲48.5歌曲 - 神的力量与治理Gottes Macht und Vorsehung歌曲48.6歌曲 - 忏悔之歌Busslied钢琴奏鸣曲49.1第19号钢琴奏鸣曲 Piano Sonata No.19 Op.49.1 1805 G大调钢琴奏鸣曲49.2第20号钢琴奏鸣曲 Piano Sonata No.20 Op.49.2 G大调协奏曲50浪漫曲 小提琴和乐队 F 大调Romance in F钢琴51.1回旋曲为钢琴而作的回旋曲 Rondes for Piano 1797 C大调钢琴51.2回旋曲为钢琴而作的回旋曲 Rondes for Piano 1797 G大调歌曲52.1歌曲 - 伍利安的环游世界Urians Reise um die Welt歌曲52.2歌曲 - 火焰之色Feuerfab歌曲52.3歌曲 - 安息的小曲Das Liedchen von der Ruhe歌曲52.4歌曲 - 五月歌Maigesang歌曲52.5歌曲 - 莫利的告别Mollys Abschied歌曲52.6歌曲 - 爱情Die Liebe歌曲52.7歌曲 - Marmotte土拨鼠歌曲52.8歌曲 - 可爱的花Das Blümchen Wunderhold钢琴奏鸣曲53第21号钢琴奏鸣曲(华尔斯坦) Piano Sonata No.21 Op.53 1803-1804 C大调钢琴奏鸣曲54第22号钢琴奏鸣曲 Piano Sonata No.22 Op.54 1804 F大调交响曲55第三交响曲 (英雄) Symphonie No.3 OP.55 1803-1804 降E大调协奏曲56协奏曲为小提琴,大提琴,钢琴三重奏 Triple Concerto for vilin Cello and Piano Op.56 1803-1804 C大调钢琴奏鸣曲57第23号钢琴奏鸣曲(热情) Piano Sonata No.23 Op.57 1804-1806 F小调协奏曲58第四钢琴协奏曲 Pinao Concertos No.4 Op.58 1805-1806 G大调弦乐4重奏59.1第七号弦乐4重奏 Steing quartet No.7 Op.59.1 1806 F大调弦乐4重奏59.2第八号弦乐4重奏 Steing quartet No.8 Op.59.2 1806 E小调弦乐4重奏59.3第九号弦乐4重奏 Steing quartet No.9 Op.59.3 1806 C大调交响曲60第四交响曲 Symphonie No.4 Op.60 1806.1 降B大调协奏曲61小提琴协奏曲 Violin Concerto Op.61 1806 D大调协奏曲61.1改编自小提琴协奏曲的钢琴协奏曲 Pinao Concertos in D Op.61 1807管弦乐62序曲科里奥兰 Coriolanus Overture Op.93 1807 C大调63弦乐五重奏 ( 作品 4的整理版本) 钢琴三重奏64钢琴三重奏 ( 作品 3的整理版本) 钢琴，小提琴和大提琴人声和乐队65咏叹调 - 《啊，负心人》Ah perfido!大提琴和钢琴66根据<魔笛>主题的变奏曲12段 12 Variationen uber das Thema “Ein Madchenoder Weibchen” aus der Op 交响曲67第五交响曲 (命运) Symphonie No.5 Op.67 1804-1808 C小调交响曲68第六交响曲 (田园) Symphonie No.6 Op.68 1807---1808 F大调大提琴奏鸣曲69第三大提琴奏鸣曲 Cello Sonata No.3 Op.69 1808 A大调钢琴3重奏70.1第五钢琴3重奏 Piano trio No.5钢琴3重奏70.2第六钢琴3重奏 Piano trio No.6 Op.70.2 1808 降E大调管乐71管乐6重奏 Wind Sextet Op.71 1796-1797 降E大调歌剧72歌剧费德里奥序曲 Fidelio Ov Op.72 1802-1805歌剧72歌剧费德里奥 Fidelio Op.72 1802-1805歌剧72.1《莱奥诺拉》第二号序曲Ov 'Leonore II'歌剧72.2《莱奥诺拉》第三号序曲Ov 'Leonore III'协奏曲73第五钢琴协奏曲 (皇帝)Pinao Concertos No.5 Op.78 降E大调弦乐4重奏74第十号弦乐4重奏 Steing quartet No.10 Op.74 1809 降E大调歌曲75.1歌曲 - 迷娘Minano歌曲75.2歌曲 - 新的爱情，新的生活Neue Liebe Neues Leus Leben歌曲75.3歌曲 - 从前有一个国王（跳蚤之歌）Aus Goethes Faust (Mephistos Flohlied)歌曲75.4歌曲 - 格雷太尔的警告Gretels Warnung歌曲75.5歌曲 - 寄给遥远的恋人An den fernen Geliebten歌曲75.6歌曲 - 满足者Der Zufriedene钢琴766首主题变奏曲 钢琴 on an original theme, D 大调钢琴77幻想曲钢琴Fantasia in G Minor Op.77 1809 G小调钢琴奏鸣曲78第24号钢琴奏鸣曲 Piano Sonata No.24 Op.78 1809 升F大调钢琴奏鸣曲79第25号钢琴奏鸣曲(杜鹃) Piano Sonata No.25 Op.79 1809 G大调宗教音乐80合唱幻想曲 Fantasie fur Klavier,Chor Und Orchester Op.80 1809 C小调钢琴奏鸣曲81.1第26号钢琴奏鸣曲(告别) Piano Sonata No.26 Op.81a 1809 降E大调室内乐81.2管乐6重奏 Wind Sextet Op.81b 1794-1795 降E大调歌曲82.1歌曲 - 希望Hoffnung歌曲82.2歌曲 - 爱之怨Liebes－Klage歌曲82.3二重唱 - 烦躁的爱人L'amante impatiente歌曲82.4歌曲 -烦躁的爱人 L'amante impatiente歌曲82.5歌曲 - 生活的享受Lenbens-Genuss歌曲83.1歌曲 - 忧郁中的欢乐Wonne Der Wehmut歌曲83.2歌曲 - 憧憬Sehnsucht歌曲83.3歌曲 - 随着彩色缎带Mit einem gemalten Band管弦乐84戏剧《艾格蒙特》配乐Music to 'Egmont'管弦乐84.1序曲艾格蒙特 Egmond 1809宗教音乐85神剧基督在橄榄山上 Oratorium “Christus am olberg” Op.85 1803 降E小调宗教音乐86弥撒曲 Mass in C Op.86 1807 C大调管乐87木管3重奏 Woodwind trio in C Op.87 1794 C大调歌曲88歌曲 - 友谊之幸福Dietrich Fischer钢琴89波罗乃兹舞曲 C 大调钢琴奏鸣曲90第27号钢琴奏鸣曲 Piano Sonata No.27 Op.90 1814 E小调管弦乐91战争交响曲（惠林顿的胜利） Wellingtons Sieg Op.91 1813 D大调交响曲92第七交响曲 Symphonie No.7 Op.92 1811-1812.6 A大调 ?交响曲93第八交响曲 Symphonie No.8 Op.93 1811-1812.10 F大调歌曲94歌曲 - 寄托希望An die Hoffnung弦乐4重奏95第十一号弦乐4重奏 Steing quartet No.11 Op.95 1810 F小调小提琴奏鸣曲96第10号小提琴奏鸣曲 Violin Sonata No.1 Op.96 1811-1812 G大调钢琴3重奏97第七号钢琴3重奏(大公) Piano trio No.7 Op.97 1811 降B大调歌曲98歌曲 套曲（6首） - 致远方的爱人An die ferne Geiebte歌曲98.1坐在山岗上(Auf den Hugel Sitzich)歌曲98.2《山峦碧蓝》(Wo die Berge so blan)歌曲98.3《高空飞鸟》(Leichte segler in der Hoden)歌曲98.4《天上浮云》(Diese wolken in den hohen)歌曲98.5《当5月再活》(Es kehret der Maien)歌曲98.6《请接受这首歌曲》(Nimm die hin denndiese Lieder)歌曲99歌曲 - 守诺的人Der mann von Wort歌曲100歌曲 - 纪念石Merkensteun钢琴奏鸣曲101第28号钢琴奏鸣曲 Piano Sonata No.28 Op.101 1815-1816 A大调大提琴奏鸣曲102.1第四大提琴奏鸣曲 Cello Sonata No.4 Op.102.1 1815 G大调大提琴奏鸣曲102.2第五大提琴奏鸣曲 Cello Sonata No.5 Op.102.2 1815 D大调管乐103管乐8重奏 Wind Octet Op.103 1792 G小调104弦乐5重奏 (钢琴三重奏 No. 3 的整理版本)室内乐105主题与变奏 6首（钢琴和长笛） 6 Tema Con Variazioni Op.105 1817-1818钢琴奏鸣曲106第29号钢琴奏鸣曲(钢琴) Piano Sonata No.29 Op.106 1818-1819 降B大调室内乐10710首变奏曲 钢琴和长笛Ten Themes With Vars民歌108苏格兰民歌25首 25 Scottich Songs Op.108 1815-1816钢琴奏鸣曲109第30号钢琴奏鸣曲 Piano Sonata No.30 Op.109 1818 E大调钢琴奏鸣曲110第31号钢琴奏鸣曲 Piano Sonata No.31 Op.110 1821 降A大调钢琴奏鸣曲111第32号钢琴奏鸣曲 Piano Sonata No.32 Op.111 1819-1822 E小调宗教音乐112清唱剧 <平静的海和幸福的航行> Kantate “Meeresstille und gluckliche Fahrt” Op.112 1814-1815 D大调管弦乐113歌唱剧雅典的废墟 The ruins of Athens Op.113管弦乐113.1《雅典的废墟》序曲'The Ruins Of Athens'Ov管弦乐114进行曲和合唱 - 新屋落成典礼Music for 'The Consecration Of The House'管弦乐115序曲命名日庆典序曲 Ouverture “Namensfeier” Op.115 1814 C大调人声和乐队116二重唱,三重唱,四重唱 Deets & Trio and Quartets Op.116管弦乐117歌唱剧 - 史提芬王管弦乐117.1《斯蒂芬王》序曲'King Stephan Of Hungary'Ov人声和乐队118Eligischer Gesang (合唱和乐队)钢琴119钢琴新小品11首 Elf neue Bagatelle Op.119 1800-1821钢琴120狄亚贝里变奏曲 Diabelli Variations Op.120 1823 C大调钢琴3重奏121.1第十一钢琴3重奏（变奏曲） Piano trio in G No.11 Op.121a 1803 G小调人声和乐队121.2合唱曲13首 Choral Works Op.121b人声和乐队122Bundeslied (合唱和乐队)宗教音乐123庄严大弥撒 Missa Solemnis Op.123 1818-1823 D大调管弦乐124序曲向大厦献礼 The Consecration of the house Op.124 1822 C大调交响曲125第九交响曲 (合唱) Symphonie No.9 Op.125 1824.2 D小调钢琴126钢琴小品6首 Sechs Bagatellens Op.126 1823弦乐4重奏127第十二号弦乐4重奏 Steing quartet No.12 Op.127 1823 降E大调歌曲128歌曲 - 吻Der kuss钢琴129随想回旋曲《丢了十分钱的狂怒》 钢琴 G大调 (Rage over a lost penny)弦乐4重奏130第十三号弦乐4重奏 Steing quartet No.13 Op.130 1825 降B大调弦乐4重奏131第十四号弦乐4重奏 Steing quartet No.14 Op.131 1826 升C小调弦乐4重奏132第十五号弦乐4重奏 Steing quartet No.15 Op.132 1824-1825 A小调弦乐4重奏133大赋格曲（弦乐四重奏） Grosse Fugue in B flat Op.133 降B大调钢琴134四手联弹《降B大调大赋格》钢琴'Grosse Fuge' in B flat弦乐4重奏135第十六号弦乐4重奏 Steing quartet No.16 Op.135 1826.1 F大调宗教音乐136康塔塔 - 荣耀的一刻'The Moment of Glory' Cant室内乐137弦乐五重奏 (赋格) D 大调Fuge in D歌剧138序曲莱昂诺拉第一号 Ov 'Leonore I'《为大厦典礼》而作的配乐Music for 'The Consecration Of The House'No.7 Mu管弦乐113.5/H118协奏曲H013为钢琴、长笛、大管和乐队而作的浪漫曲Romance Cantabile in e室内乐H029为两把小提琴和大提琴而作的《前奏曲与赋格》Prld And Fuge弦乐4重奏H030前奏曲和赋格Prld And Fugue in F弦乐4重奏H031前奏曲和赋格Prld And Fugue in C弦乐4重奏H032四重奏Qt in F弦乐4重奏H033小步舞曲Minuet in A flat弦乐4重奏H034弦乐4重奏-改编自钢琴奏鸣曲(OP.14、1) String quartet in F Hess 34 1801-1802 F大调弦乐4重奏H036改编自亨德尔《所罗门序曲的四重奏》Str Qt Arrangement Of The Fugue From The Ov To Ha 钢琴3重奏H048小快板Allegretto in E flat钢琴H064G小调赋格Fugue in C钢琴H069Allegretto in c钢琴H107Grenadier March For Mechanical Clock管弦乐H115为歌剧《维斯塔的火》而作的结尾Scene (One) from 'Vesta's Fire'歌曲H133Das Liebe Katzchen, Hess 133 (Austrian Folksong)歌曲H134 Der Knabe Auf Dem Berge, Hess 134人声和乐队H210Fra Tutte Le Pene (2nd Version)人声和乐队H228Salvo Tu Vuoi Lo Sposo?人声和乐队H230Giura Il Nocchier(1st Version)人声和乐队H231Sei Mio Ben钢琴H274《两首卡农》Canon a 2 in G钢琴H275《两首卡农》Canon a 2 in A flat人声和乐队H276Herr Graf, Ich Komme Zu Fragen人声和乐队H277Esel Aller Esel管弦乐O001骑士芭蕾音乐 Musik Zu einem Ritterballett WoO.1 1790-1791管弦乐O002.1《C大调凯旋进行曲》Triumphal March管弦乐O002.2《为军乐而作的引子》Alla Marcia, Ma Non Troppo Presto管弦乐O003庆贺小步舞曲 Grarulations Menuett WoO.3 1822协奏曲O004钢琴协奏曲 Pinao Concertos in E flat WoO.4 1784协奏曲O005小提琴协奏曲Con in C协奏曲O006回旋曲钢琴与乐队的降B大调回旋曲 Rondo for Pinao and Orchestra in B flat WoO.6 1795管弦乐O00712首小步舞曲 12Menuette WoO.7 1795管弦乐O008舞曲 12首德国舞曲 12 Dertsche Tanze WoO.8 1795室内乐O009为两把小提琴和低音提琴而作的《6首小步舞曲》Six Menuets钢琴O010《6首个步舞曲》6 Minuets钢琴O011《7首兰德勒舞曲》7 Landler钢琴O013《12首德国舞曲》12 German Dances管弦乐O01412首对舞曲 12 Kontratanze WoO.14 1800-1802室内乐O015舞曲 6首兰德勒舞曲（两把小提琴和低音提琴） 6 Landlerische Tanze WoO.15 1802 D大调O01711首维也纳舞曲 11 Wienertanze WoO.17 1818-1820管乐O018进行曲为乐队(管乐)而作的进行曲 Marsh for Orchetra WoO.18-22,24,29 1809-1810管乐O019进行曲为乐队而作的进行曲 Marsh for Orchetra WoO.18-22,24,29 1809-1811管乐O020进行曲为乐队(管乐)而作的进行曲 Marsh for Orchetra WoO.18-22,24,29 1809-1812管乐O021波兰舞曲为乐队而作的进行曲 Marsh for Orchetra WoO.18-22,24,29 1809-1813管乐O022埃科赛斯舞曲为乐队而作的进行曲 Marsh for Orchetra WoO.18-22,24,29 1809-1814管乐O024进行曲为乐队(管乐)而作的进行曲 Marsh for Orchetra WoO.18-22,24,29 1809-1815管乐O025为两支双簧管、两支单簧管、两支巴松和两把圆号而作的回旋曲 Rondo (Rondino) in E flat 室内乐O026长笛2重奏 Flute duo in G WoD.26 1792 G大调O027木管2重奏 3 Woodwind duos WoD.27 1792 C大调管乐O028根据歌剧<唐璜>主题的变奏曲 12 Variationen uber das Thema “La ci darem la mano” aus der Oper “Don 管乐O029为两支单簧管、两把圆号、两支巴松而作的进行曲March in B flat管乐O030Three Equali钢琴O031《为管风琴而作的赋格》Fugue室内乐O032中提琴和大提琴二重奏 String duo in E flat WoD.32 1795-1798 降E大调钢琴O033为管风琴而作的5首小品5 Pieces For Mechanical Clock室内乐O034两把小提琴二重奏Duet in A室内乐O035为两把小提琴而作的卡农Canon in A室内乐O036.1钢琴4重奏 Piano qiartets in E flat WoO.36 1785室内乐O036.2钢琴4重奏 Piano qiartets in D WoO.36 1785室内乐O036.3钢琴4重奏 Piano qiartets in C WoO.36 1785室内乐O037钢琴、长笛和巴松3重奏 Trio in G WoD.37 1790 G大调钢琴3重奏O038第九钢琴3重奏 Piano trio No.9 WoD.38 1790-1791 降E大调钢琴3重奏O039第八钢琴3重奏 Piano trio No.8 WoD.39 降B大调小提琴和钢琴O040根据<费加罗的婚礼>主题的变奏曲 12 Variationen uber das Thema “Se Vuol ballare,Signor contino” aus 小提琴和钢琴O041G大调回旋曲Rondo in G小提琴和钢琴O0426首德国舞曲Six German Dances室内乐O043.1为曼陀林与钢琴而作的小品Son in c室内乐O043.2为曼陀林与钢琴而作的小品Adagio in E flat室内乐O044.1为曼陀林与钢琴而作的小品Sonatine in C室内乐O044.2为曼陀林与钢琴而作的小品Andante Con Vars in D大提琴和钢琴O045根据<马卡布的犹大>主题的变奏曲 12 Variationen uber das Thema “See the Conquering hero”aus “Juda 大提琴和钢琴O046根据<魔笛>主题的变奏曲7段 7 Variationen uber das Thema “Bei Mannern,Selche Liebe Fuhln” aus der O 钢琴O047.1为选帝候而作的三首奏鸣曲 Kurfursten Sonates in E flat WoD.47 1782-1783 降E大调钢琴O047.2为选帝候而作的三首奏鸣曲 Kurfursten Sonates in f WoD.47 1782-1783 f小调钢琴O047.3为选帝候而作的三首奏鸣曲 Kurfursten Sonates in D WoD.47 1782-1783 D大调钢琴O048回旋曲Rondo in C钢琴O049回旋曲Rondo in A钢琴O050两首奏鸣曲2 Son Movts钢琴O051C大调钢琴奏鸣曲Pno Son in C钢琴O052小品Bagatelle钢琴O053C大调奏鸣曲Allegretto in c钢琴O054'Lustig - Traurig' in C钢琴O055前奏曲 Prelude in F minor WoD.55 1803 F小调钢琴O056小品Bagatelle钢琴O057可爱的行板 Andante favori WoD.57钢琴O059《献给爱丽斯》Bagatelle 'Fur Elise' in a钢琴O060降B大调小品Pno Piece (Bagatelle) in B flat钢琴O061Allegretto in b钢琴O061.1降B大调小快板Allegretto Quasi Andante in gO062庄严的行板 Andante maestoso WoD.62 1826 C大调钢琴O063根据德莱斯勒的进行曲主题的变奏曲9首 9 Variationen uber einen Marsch Von E. C. Dressler WoD.63 17钢琴O064为瑞士歌曲而作的6首变奏曲6 Vars On A Swiss Song钢琴O065根据李基尼抒情小调主题的变奏曲24首 24 Variationen uber die Ariette “Venni amore”Von V. Righini WoD 钢琴O066根据迪塔斯多夫抒情小调主题的变奏曲13首 13 Variationen uber die Ariette “Es War einmal ein alter Man 钢琴O067根据华德斯坦主题的变奏曲8首 8 Variationen uber ein Thema des Grafen Von Waldstein WoD.67 1791-1钢琴O068根据海贝尔舞剧主题的变奏曲12首 12 Variationen uber das Thema “Menuett a la Vigano”aus dem Ballet 钢琴O069根据拜谢罗歌剧主题的变奏曲9首 9 Variationen uber das Thema “L’amor Contadino”ais der Oper “Lamol 钢琴O070根据拜谢罗歌剧主题的变奏曲6首 6 Variationen uber das Duett “Nel cor piu non mi sento” aus der Oper “钢琴O071根据伍拉尼兹基舞剧主题的变奏曲12首 12 Variationen uber das Thema “Russischen Tanz”aus dem Balle 钢琴O072根据格莱特里歌剧主题的变奏曲8首 8 Variationen uber das Thema “Une fievre brulant”us der Oper “Rich 钢琴O073根据萨列里歌剧主题的变奏曲10首 10 Variationen uber das Thema “La stessa, la atessissima” aus der O 钢琴O074根据歌曲《我思念你》而作的变奏曲6首 Lied “Ich denke dein” mit 6 Variationen WoD.74 1799-1804钢琴O075根据维特歌剧主题的变奏曲7首 7 Variationen uber das Quartett “Kind, Willst du ruterbrochene Opferfest”钢琴O076根据苏斯麦耶尔歌剧主题的变奏曲8首 8 Variationen uber das Tarzett “Tandeln und Scherzen” aus der O 钢琴O077根据自己创作主题的变奏曲6首 6 Leichte Variationen Uber ein eigenes Thema WoD.77 1800 G大调钢琴O078根据<神佑吾皇>主题的变奏曲7首 7 Variationen uber “God Save the King” WoD.78 1803 C 大调钢琴O079根据<保卫大不列颠>主题的变奏曲5首 5 Variationen uber “Rule Britania” WoD.79 1803 D大调钢琴O080根据主题而创作的变奏曲32首 32 Variationen uber ein eigenes Thema WoD.80 1806 C小调钢琴O081舞曲为钢琴而作的舞曲 Piano dances WoD81 1800钢琴O082降E大调小步舞曲 Minuet in E flat钢琴O083《6首埃科赛斯舞曲》6 Ecossaisen钢琴O084降E大调圆舞曲Waltz in E flat钢琴O085D大调圆舞曲Waltz in D钢琴O086降E大调埃科赛斯舞曲Ecossaise in E flat宗教音乐O087约瑟夫二世葬礼清唱剧Funeral Cant on the Death of Emperor Joseph II宗教音乐O088李奥波德二世加冕大典清唱剧 Cant on the Accession of Emperor Leopold II人声和乐队O089Prufung Des Kussens人声和乐队O090Mit Madeln Sich Vertragen管弦乐O091为《美丽的绍马克夫人》和《多彩的褐色鞋》的两首咏叹调而作的配乐Two Arias for 'The Be 人声和乐队O092Primo Amor人声和乐队O092.1No, Non Turbarti人声和乐队O093Ne' Giorni Tuoi Felici管弦乐O094为特赖尼克的歌剧《好消息》而作的终曲《日曼尼亚》Final Number from 'The Good News''G 人声和乐队O095Chor for the Allied Princes管弦乐O096《莱奥诺拉》的残稿遗作Music to 'Eleonore Prohaska'No.1 'Wir Bauen Und Sterben'管弦乐O097为特赖尼克的轻歌剧《凯旋门》而作的终曲《大功告成》Final Number from 'The Triumphal 管弦乐O098《为大厦典礼》而作的配乐Music for 'The Consecration Of The House'No.5 Chor Mit Sopr Bei Labbri, Che Amore人声和乐队O099/1（H2Quella Cetra Ah Pur Tu Sei(1st Version)人声和乐队O099/10a(HQuella Cetra Ah Pur Tu Sei人声和乐队O099/10b(HQuella Cetra Ah Pur Tu Sei (2nd Version)人声和乐队O099/10c(HScrivo In Te人声和乐队O099/11（HChi Mai Di Questo Core人声和乐队O099/2(H21人声和乐队O099/3a Fra Tutte Le PeneFra Tutte Le Pene人声和乐队O099/3b(H2Fra Tutte Le Pene(1st Version)人声和乐队O099/3c(H2Gia La Notte S'avvicina人声和乐队O099/4a(H2Gia La Notte S'avvicina人声和乐队O099/4b(H2Giura Il Nocchier(2nd Version)人声和乐队O099/5a(H2Giura Il Nocchier人声和乐队O099/5b(H2Ma Tu Tremi人声和乐队O099/6(H21Nei Campi E Nelle Selve(1st Version)人声和乐队O099/7a(H2Nei Campi E Nelle Selve(2nd Version)人声和乐队O099/7b(H2Per Te D'amico Aprile人声和乐队O099/9(H21人声和乐队O100Lob Auf Den Dicken人声和乐队O101Graf, Liebster Graf人声和乐队O102Song of Farewell人声和乐队O103Rural Cantata人声和乐队O104The Monks' Song人声和乐队O105Wedding Song人声和乐队O106Lobkowitz-Kantate歌曲O107《少女的素描》（Schilderuny eines Madchen）歌曲O108《给婴儿》（An die Sangling）歌曲O109《别离时的饮酒歌》（Trinkling beim Abschied zu Singen）歌曲O110《为死去的狮子狗的悲歌》（Elegie auf den Tod eines Pudels）歌曲O111《彭奇之歌》（Punschlied）歌曲O112《为劳拉》（An Laura）歌曲O113《悲叹》（Klage）歌曲O114《自言自语》（Selbstgesprach）歌曲O115《为敏娜》（An Minna）歌曲O116.1《岁月悠悠》第一版（Que le temps me dure）(1st Version)歌曲O116.2《岁月悠悠》第二版（Que le temps me dure）(2nd Version)歌曲O117《自由的男人》（Der freie mnann）歌曲O118《单恋者的叹息》（Seufzer eines Ungeliebten）歌曲O119《哦，亲切的森林》（O Care Selve）歌曲O120《人想要隐藏住火焰》（Mann Strebt die Flame zu Verhehlen）歌曲O121《向维也纳市民的告别之歌》（Aschiedgesang an Wien's Burger）歌曲O122Kriegslied Der Osterreicher, WoO 122歌曲O123Ich Liebe Dich, So Wie Du Mich (Zartliche Liebe), WoO 123歌曲O124《别离》（La Partenza）歌曲O125《暴君》（Tiranna）歌曲O126Opferlied, WoO 126歌曲O127《新的爱，新的生命》（Neue Liebe neben）歌曲O128Romance, WoO 128歌曲O129《鹌鹑的啼声》（Der Wachtelschlag）歌曲O130《不要忘记我》（Gedenke mein）歌曲O132《当情人分离时》（Als die Geliebte Sich trennen Wollte）歌曲O133《在黑暗的坟墓中》（Iuguesta tomba oscnra）歌曲O134《渴望》Sehnsucht歌曲O135《高声悲鸣》（Die laute klage）歌曲O136《回亿》（Andenken）歌曲O137《远方的歌曲》（Lied aus der Ferne）歌曲O138《异乡的年轻人》（Der jungling in der Fremde）歌曲O139《恋爱的人》（Der Liebende）歌曲O140.2《寄给爱人》第二版（An die Geliebte）(2nd Version)歌曲O140.3《寄给爱人》第三版（An die Geliebte）(3rd Version)歌曲O141《夜莺之歌》（Der Gesang der Nachtigall）歌曲O142《弹唱诗人之魂》（Der Bardengeist）歌曲O143《战士的告别》（Der kriegers Abschied）歌曲O144《指标石》（Merkensteun）(1st Setting)歌曲O145《秘密》（Das Geheimniss)或《爱与真实》（Liebe Und Wahrheit）歌曲O146《憧憬》（Sehnsucht）歌曲O147《山中的呼唤》（Ruf Vom Berge）歌曲O148《不管怎样说》（So oder so）歌曲O149《死了心》（Resignation）歌曲O150《星空下的黄昏之歌》（Abendlied nuter'm gestimten Himmel）歌曲O151《高贵的人必然仁慈又善良》（Der edle Mensch sei hul freich undgut）民歌O152爱尔兰民歌25首 25 Irish Songs WoD.152 1810-1813民歌O153爱尔兰民歌20首 20 Irish Songs WoD.153 1810-1813民歌O154爱尔兰民歌12首 12 Irish Songs WoD.154 1810-1813民歌O155威尔士民歌26首 26 Welsh Songs WoD.155 1810-1814民歌O156苏格兰民歌12首 12 Scottish Songs WoD.156 1817-1818民歌O157各国民歌12首 12 Songs of various nationality WoD.157 1814-1815民歌O158.1各国民歌集23首 Songs of various nationality WoD.158 1815-1818民歌O158.2《7首英国民歌》7 British Songs民歌O158.3《6首各国民歌》6 Songs Of Various Nationalities人声和乐队O159Im Arm Der Liebe Ruht Sich's Wohl人声和乐队O161Ewig Dein人声和乐队O163Kurz Ist Der Schmerz人声和乐队O164Freundschaft Ist Die Quelle Wahrer Gluckselgkeit人声和乐队O165Gluck Zum Neuen Jahr!人声和乐队O166Kurz Ist Der Schmerz人声和乐队O167Brauchle, Linke人声和乐队O168.1Das Schweigen人声和乐队O168.2Das Reden人声和乐队O169Ich Kusse Sie人声和乐队O170Ars Longa, Vita Brevis人声和乐队O172Ich Bitt' dich, Schreib Mir Die Es-Skala Auf人声和乐队O173Hol' Euch Der Teufel! B'hut Euch Gott!人声和乐队O174Glaube Und Hoffe!人声和乐队O175Sankt Petrus War Ein Fels!人声和乐队O176Gluck Zum Neuen Jahr!人声和乐队O177Bester Magistrat, Ihr Friert!人声和乐队O178Signor Abate!人声和乐队O179Alles Gute人声和乐队O180Hoffman, Sei Ja Kein Hofmann人声和乐队O182O Tobias!人声和乐队O183Bester Herr Graf, Sie Sind Ein Schaf!人声和乐队O184Falstafferel, Lass Dich Sehen!人声和乐队O185Edel Sei Der Mensch人声和乐队O186Te Solo Adoro人声和乐队O187Schwenke Dich Ohne Schwanke!人声和乐队O188Gott Ist Eine Feste Burg人声和乐队O189Doktor Sperrt Das Tor Dem Tod人声和乐队O190Ich War Hier, Doktor, Ich Ear Hier人声和乐队O191Kuhl, Nicht Lau人声和乐队O192Ars Longa, Vita Brevis人声和乐队O193Ars Longa, Vita Brevis人声和乐队O194Si Non Per Portas, Per Muros人声和乐队O195Freu Dich Des Lebens!人声和乐队O196Es Muss Sein!人声和乐队O197Da Ist Das Werk人声和乐队O198Wir Irren Zllesamt人声和乐队O202Das Schone Zum Guten!人声和乐队O203Das Schone Zu Dem Guten!歌曲W《远方的歌曲》第一次修改（Lied aus der Ferne）(1st Setting)为大提琴和钢琴而作的变奏曲 Variationens for Cello and Piano G大调1802-1803 降E大调ano Op.56 1803-1804 C大调henoder Weibchen” aus der Oper “Zauberflote” Von W.A.Mozart Op.66 1796 F大调奏鸣曲 Flohlied)hrt” Op.112 1814-1815 D大调House'enny).7 Music Behind The Scenese Fugue From The Ov To Handel's 'Soloman'flat WoO.6 1795O.15 1802 D大调dino) in E flatm la mano” aus der Oper “Don Giovanni” Von W.A.Mozart WoD.28 1797uol ballare,Signor contino” aus der Oper “Le nozze di Figaro” Von W.A.Mozart WoD.40 1792-1793 F大调he Conquering hero”aus “Judas Maccabeus” Von G. F. Handel WoD.45 1796 G大调n,Selche Liebe Fuhln” aus der Oper “Zauberflote” Von W .A .Mozart WoD.46 1801 降E大调Von E. C. Dressler WoD.63 1781 C小调enni amore”Von V. Righini WoD.65 1790 D大调e “Es War einmal ein alter Mann” aus dem Singspiel “Das rote Kappchen” Von K. D. Von Dittersdorf WoD.66 1792 A大调Von Waldstein WoD.67 1791-1792ett a la Vigano”aus dem Ballett “le nozze disturbate” Von J.Haibel WoD.68 C大调Contadino”ais der Oper “Lamolinara”Von G.Paisiello WoD.69 1795 A大调u non mi sento” aus der Oper “La molinara” Von G.Paisiello WoD.70 1788Russischen Tanz”aus dem Ballett “Das Waldmadchen” Von P. Wranitzky WoD.71 1796 A大调evre brulant”us der Oper “Richard Coeur de Lion” Von A.M.Gretry WoD.72 1796-1797 C大调essa, la atessissima” aus der Oper “Falstaff” Von A.Salieli WoD.73 1799 降B大调ionen WoD.74 1799-1804lst du ruterbrochene Opferfest” Von, P.Winter WoD.75 1799 F大调ndeln und Scherzen” aus der Oper “Soliman Li order die drei Sultaninen” Von F. X. Sussmayr WoD76 1799 F大调ema WoD.77 1800 G大调WoD.78 1803 C 大调WoD.79 1803 D大调oD.80 1806 C小调II配乐Two Arias for 'The Beautiful Shomaker's Wife, Or The Puce Coloured Shoes'The Good News''Germania'r Bauen Und Sterben'mber from 'The Triumphal Arches''Es Ist Vollbracht' House'No.5 Chor Mit Sopran-Solo。
巴托克匈牙利素描五声调式
巴托克匈牙利素描五声调式
（最新版）
目录
1.巴托克及其音乐成就
2.匈牙利素描的背景与特点
3.五声调式的概念及其在匈牙利素描中的应用
4.五声调式对匈牙利素描的影响
正文
1.巴托克及其音乐成就
巴托克·贝拉（Béla Bartók，1881-1945）是匈牙利著名的作曲家、钢琴家和音乐教育家。
他被认为是 20 世纪最重要的音乐家之一，其创作的音乐风格独特，富有创新性。
巴托克的音乐作品具有浓厚的匈牙利民族风格，他在音乐领域的贡献使得他被誉为“匈牙利音乐的国宝”。
2.匈牙利素描的背景与特点
匈牙利素描是巴托克创作的一种音乐形式，其灵感来源于匈牙利民间音乐。
这种音乐形式具有以下几个特点：首先，它以民间音乐为基础，通过专业的音乐技法创作而成；其次，匈牙利素描的旋律和节奏富有浓厚的民间色彩，表现出匈牙利民族的音乐特点；最后，匈牙利素描的和声处理独具匠心，善于运用五声调式等非西方传统和声技巧。
3.五声调式的概念及其在匈牙利素描中的应用
五声调式是一种古老的音乐调式，源于中国古代音乐。
这种调式采用五个音符构成，分别为宫、商、角、徵、羽。
在巴托克的匈牙利素描中，五声调式被巧妙地运用在旋律、和声以及节奏等方面，为作品增添了独特的韵味。
4.五声调式对匈牙利素描的影响
五声调式在匈牙利素描中的运用，使得这种音乐形式具有了更丰富的音乐表现力和更高的艺术价值。
通过运用五声调式，巴托克成功地将古老的东方音乐元素融入到西方古典音乐创作中，丰富了音乐文化的多样性。
同时，五声调式的运用也使得匈牙利素描在音乐史上具有了举足轻重的地位。
巴达奇(Bartech)
The Game Model
There might be four major possible adverse（有害） effects, the diversion（转换）of resources, the deflection（偏折）of goals, the dilemmas（困境）of administration, and the dissipation（散逸）of energies. Therefore, the most important approach to solving, or at least ameliorating（改良） the so-called “implementation problems” is to design the “Scenario（情节） -Writing” while taking into account all these stresses and strains（张力）.
Strategy implementation
Outcome
Why does this “implementation problem” happen? Bardach provided a classic metaphor （ 隐喻 ） in his book, The Implementation Game.
博弈的含义
一定场合中的对弈者在决定采取何种行动时，都有策 略有目的的行事，他会考虑到他的行为对他人的可能 影响以及他人的行为对他的影响，通过选择最佳行动 计划，来寻求效益或效用的最大化。
巴达奇（Bartech）
Bartech argued, that “at one level the implementation process surrounding any policy mandate （命令） can usefully be construed（解释） as the playing out of numerous political and bureauc strategy process
巴洛克时期TheBaroqueEra1600-1750.pdf
The Baroque Era1600-1750Characteristics of the Baroque EraSpanning the period from 1600 to 1750, music of the Baroque Era (as well as architecture, sculpture and painting) was elaborately ornate in design and conceptually grandiose; a dramatic contrast to the simplistic instrumental and vocal music of the Renaissance. Modality was replaced by major and minor tonalities and composers came to indicate form and tonal centers in their titles (i.e., Toccata and Fugue in D Minor, Concerto for Violin and Orchestra in A Major, etc.), and authentic cadences (V7-I) replaced the previously preferred modal cadences.While Baroque music remained predominantly contrapuntal, counterpoint became harmonically oriented and reached its paramount in the hands of Bach. Two new and distinctly Baroque styles came into existence; Stile Concertato (the concept of a performer, or group of performers, playing in opposition to, or alternation with, each other or an ensemble), and Basso Continuo (a part written in the bass clef with numerals and accidentals below the notes designating a musical shorthand known as figured bass), in which the viola da gamba, cello, or bassoon would play the written part and the keyboard or lute would fill in the harmony indicated by the numerals.Composers began to indicate tempo (e.g., allegro, presto, etc.) and dynamics (e.g., forte, piano, etc.) for the first time in history. Improvisation became an important part of performance technique, and musicians became highly skilled in melodic variations, ornamentations, cadenzas, and the realization of figured bass parts. New musical forms that emerged during the Baroque included the fugue, chaconne, passacaglia, toccata, concerto, sonata, oratorio, opera, suite, oratorio and cantata.TEMPOPrior to the 17th-century, tempo (Tactus) for a composition in a given style (i.e., madrigal, motet, etc.) was fairly uniform, and any variances from the traditional tempos were indicated by notation. Beginning in the Baroque period, composers indicated tempo through the use of terms (i.e., Allegro, Largo). The practice began in Italy, and though it quickly spread throughout all of Europe, the conventional tempo indications were usually expressed in Italian (see the glossary for terms and definitions). While these terms gave composers greater control over the interpretation of their works, the terms were still ambiguous enough to cause some confusion. For example, andante (Italian for “walking” or “going”) is a moderate tempo, between moderato and adagio. Since it is usually regarded as a slow tempo, pui (more) andante would indicate a tempo slightly slower than andante, while meno (less) andante would indicate a tempo slightly faster than andante. However, some composers (such as Brahms) consider andante to be a fast tempo, in which case the interpretations of pui andante and meno andante would be reversed. The invention of the metronome allowed composers become very precise with their tempo markings, however most conductors and performers still tend to regard tempo as a matter of interpretation.Glossary of Tempo TerminologyAccelerando. Becoming faster.Adagio. Slow tempo, between andante and largo.Allargando. Slowing down and increasing in volume.Allegretto. A tempo between allegro and andante.Allegro. A fast tempo.Allentando. Slowing down.Andante. A moderate tempo between allegretto and adagio.Andatino. Diminutive of andante, usually interpreted to be slightly faster than andante.A tempo. Return to previous tempo, usually follows some deviation of tempo.Larghetto. Slightly faster than largo.Largo. Very slow, a tempo slower than adagio.Lento. Slow.Meno. LessModerato. Of moderate speed.Molto. Very.Mosso. Quickly.Poco. Little.Poco a poco. Little by little.Prestissimo. Quickest possible tempo.Presto. Very fast, faster than allegro.Pui. More.Ritardando. Gradually slowing.Ritenuto. Same as ritardando, but usually indicates a more drastic slowing.Rallentando. Same as ritardando.Rubato. Perform freely, expressively, without strict tempo considerations.Vivace. Brisk tempo, as fast or slightly faster than allegro.Vivacissimo. Slightly faster than vivaci.Composers of the Baroque EraJohann Sebastian BachBorn: 21 March 1685 in EisenachDied: 28 July 1750 in LeipzigThough Bach enjoyed wide recognition as a virtuoso organist, he waslittle known as a composer during his lifetime and very few of his workswere accepted for publication. It was not until 1829, when a twenty-year-old Felix Mendelssohn chanced across a manuscript of the Passion According to St. Matthew and captivated the music world by conducting the first performance of the oratorio-style, multi-movement work since Bach's death, that the compositional genius of J. S. Bach began to gain the recognition it so richly deserved.J. S. Bach was the progeny of possibly the most musically prolific family in history as no less than seven preceding generations of Bachs had held posts as town musicians and/or organists. The Bach tradition would continue as a plethora of nephews, cousins and sons followed "The Great Bach" in musical pursuits (among them, Karl Philipp Emanuel, Johann Christian and Wilhelm Friedemann Bach).Orphaned at age ten, he became the ward of his older brother, composer and organist Johann Christoph Bach, who gave him his first musical instruction. At age fifteen, his well-trained soprano voice won him a tuition-paid scholarship to become a chorister in St. Michael's Church at Lüneburg. It was during his musical studies at St. Michael's that Bach permanently damaged his eyes by copying the manuscripts of "radical" and "forbidden" composers by moonlight.In his adult years, he held posts as court or church organist at Arnstadt, Mühlhausen, Weimar, Anhalt-Cöthen (in the court of Prince Leopold) and Leipzig. His enormous compositional output (much of which was part of his official duties) includes hundreds of sacred, secular and comic cantatas (nearly 300 in all), the Christmas and Easter oratorios, the St. John, St. Luke and St. Matthew Passions, voluminous instrumental works, including the forty-eight preludes and fugues of Das Wohltemperirte Klavier (The Well-Tempered Clavier), the Goldberg Variations and other works for harpsichord and clavichord, many preludes and fugues for organ, the six Brandenburg Concertos, sonatas for violin, cello, flute and other instruments, and Four Suites for Orchestra.In 1749 Bach underwent two operations in an attempt to restore his sight that had been further weakened by strenuous process of engraving his Art of the Fugue. The surgeries not only left him totally blind but subsequently his health began to fail. On 10 July 1750, his sight miraculously returned but less than three weeks later he would die of a paralytic stroke. Recommended Listening:Brandenburg Concerto No. 5Suite No. 3 for OrchestraToccata and Fugue in D MinorGeorge Frideric HandelBorn: 23 February 1685 in Halle, Saxony (Germany)Died: 14 April 1759 in LondonHandel's father, a Saxon barber-surgeon, was determined that his sonwould become a lawyer and discouraged his son's musical ambitions.Handel secretly taught himself to play the organ and spinet and at ageseven was heard by the Duke of Saxon-Weissenfels playing the chapel organ. The Duke persuaded Handel's father to allow young George to pursue the study of music (in conjunction with the study of law.) Handel's musical studies included theory and composition as well as instruction on the oboe, spinet, harpsichord and organ. He soon began composing sonatas for two oboes and bass, and for three years [while serving as the assistant organist at the Halle Domkirche (cathedral-church)] he composed a motet for every Sunday. In 1696, at the age of eleven, Handel visited Berlin, where, at the court of the Electress Sophia Charlotte, he first came in contact with Italian music and musicians. The Princess wished to send the young Handel to Italy for further musical studies, but his father intervened and took him back to Halle to continue his "well-grounded" education. Though his father died in 1697, Handel, respecting his father's wishes, entered the University in 1702 and completed his study of law. In 1703 Handel left Halle for Hamburg where he would serve his musical apprenticeship playing violin and harpsichord in the opera orchestra. In 1704, Handel was almost lost to posterity when he engaged, for reasons since obscured, in a duel with fellow musician, Johann Mattheson. He was supposedly saved by a button on his waistcoat.Handel's first opera Almira was produced in Hamburg in 1705 and later that same year his second opera, Nero, premiered. The following year Handel completed two more operas (Florindo and Dafne) but with virtually no money at all he decided to leave Hamburg and journey to Italy. There he enjoyed mild success as a composer of Italy operas and lived for a brief time in Florence, Rome, and Naples.Offers of employment soon came to Handel from Hannover and from London. He chose to accept the offer of Elector Georg of Hannover upon the stipulation that he was free to visit England on leave. After serving as the Kapellmeister to the court of Hanover only a few weeks he took his leave and went to London. Two weeks later he completed the opera Rinaldo that was successfully produced at the Haymarket Theatre. This success proved irresistible and in little more than a year, he again asked for and was granted a leave from Hannover to visit London a second time. He was to remain in England for the rest of his life, Anglicizing the spelling of his name (originally Georg Friedrich Händel) and becoming a naturalized British subject in 1726.When public enthusiasm for opera began to fade, Handel turned to the composition of oratorios (large-scale, dramatic musical settings of religious or mythological tales sung in the vernacular and presented in concert style) and established a long tradition of that form in England. Considered the culmination of Baroque oratorio, Handel's eminence in the field rests on his superb mastery of choral technique. Among his best-known oratorios are Samson, Israel in Egypt, Judas Maccabaeus, Solomon, and the famous Christmas oratorio, Messiah (1742). Messiah was an enormous success and so inspiring to King George II that he rose to his feet at the "Hallelujah Chorus." To this day, it is customary for audiences to stand at this part of Messiah performances.The last years of his life were plagued by illness and blindness, but at the time of his death, he was one of England's most popular and respected musicians. He was buried among England's elite in Westminster Abbey.Recommended Listening:MessiahWater MusicRoyal Fireworks MusicAntonio VivaldiBorn: in Venice (possibly as early as 11 June 1669 or as late as 4 March 1678- however, most sources list an indeterminate year between 1675 and 1678)Died: 28 July 1741 in ViennaComparatively little is known of Vivaldi's life (as substantiated by theinconclusive and often conflicting information concerning his date of birth).His father, Giovanni Battista Vivaldi, was a violinist at San Marco in Venice and is presumed to have been his first music instructor. Though the young Antonio was prodigiously musical, he chose to enter the Roman Catholic priesthood and sometime before 1703 he received the holy orders.In 1703 Vivaldi became a teacher at the Seminario Musicale dell' Ospitale della Pietà (a famous school for foundling girls) in Venice and six years later was appointed Director of Concerts at the Ospitale (a position which he retained until 1740 despite widespread travels throughout Italy, Germany and possibly France). During his tenure at the Ospitale, Vivaldi composed an astonishing quantity of music including forty operas and other theater pieces, plus many choral works. Though these vocal works are impressive, it is Vivaldi's instrumental compositions, which have gained him greatest notoriety. Among his vast instrumental output are L'Estro armonico, op. 3, consisting of twelve concertos for one, two, or four solo violins, solo cello, strings, and continuo, Le quattro stagione ("The Four Seasons"), op. 8, four concertos for solo violin, strings, and continuo, La Stravaganza, op. 4, twelve concertos for solo violin, strings, and continuo, La Cetre, op. 9, twelve concertos for solo violin, strings, and continuo, more than three dozen concertos for bassoon, dozens of concertos for flute, many for oboe, viola d'amore, and other combinations of instruments (Vivaldi was required to deliver two concertos per month to the seminary even if he were traveling). In 1740 he relocated to Vienna where he hoped to win favor as a composer to the court of Charles VI. He was to die there one year later, unsuccessful in his attempt and apparently in poverty due to his lavish, spendthrift lifestyle.Vivaldi's music slipped into obscurity following his death and it was not until the Baroque "revival" of the mid-twentieth century that scholars exhumed his long forgotten works from libraries and various archives. This rediscovery of Vivaldi's mastery has established him in a position second only to that of Johann Sebastian Bach as the most recorded composer of the Baroque period.Recommended Listening:The Four Seasons, Op 8.L’estro armonicoOther Prominent Composers of the Baroque Era:Jean-Baptiste de Lully,(1632-1687)Italian-born French composer, who spent most of his life working in thecourt of Louis XIV of France.Dietrich Buxtehude (c.1637-1707)German composer of organ musicArcangelo Corelli (1653-1713)Italian composer of keyboard music.François Couperin (1668-1733)French composer of organ music.José Elias (c.1680-1746)Spanish composer of organ musicDenis Gaultier (c.1603-1691)French composer of lute music.Matthew Locke (c.1621-1677)English composer of string music.Johann Pachelbel (1653-1706)German composer of organ, choral, and chamber music; the most famous of which is the Canon and Gigue in D Major for 3 Violins and Basso Continuo.Henry Purcell (1659-1695)English composer of string music.Jean-Philippe Rameau (1683-1764)French composer of harpsichord music.Domenico Scarlatti (1685-1757)Extremely influential in the development of the Classical period in music through his individual style, though he lived mostly during the Baroque era.Georg Philipp Telemann (1681-1767)Versatile and prolific German composer of instrumental music in all media and forms.Claudio Monteverdi (1567-1643)Master of the early baroque opera.Prominent Artists of the Baroque Era:Rembrandt Harmenszoon van Rijn (1606–69)The Blinding of Samson (1636)Aristotle with a Bust of Homer (1653)Gian Lorenzo Bernini (1598–1680)Abduction of Proserpina (1621–22)David Slaying Goliath (1623)Peter Paul Rubens (1577–1640)Adoration of the Magi (1634)The Judgment of Paris (c. 1635–37)Prominent Writers of the Baroque Era:William Shakespeare (1564–1616)Hamlet (1600)MacBeth (1606)Miguel de CERVANTES SAAVEDRA (1547- 1616)Don Quixote (1605)Persiles Y Sigismunda (1616)From: A Survey of Classical MusicBy R.J. 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