Interpretation Of "multi-part" Performance In 20th Century Unaccompanied Cello Works

In the 20 th century,western cello music works emerged in an endless fashion.Sonatas for unaccompanied cello,though few in number,have proven to be important and influential in the international music repertoire,especially today with the increasingly diversified nature of music as an art form.The compositions selected for concerts and competitions are no longer limited to traditional tonal musical works,but pay more attention to post-tonal modern works that began to appear in the twentieth century,especially those of Bartok,Ligeti,Shostakovich and Britton.Their compositions embody the collision of old and new techniques and,advancing with the times,a new level of expression and functional value related to cello performance.As a graduate student majoring in cello performance at Nanjing University of the Arts,the author strives to master the repertoire of the cello in different periods and styles and meticulously study and explore practical skills in relevant performance techniques and musical performance aesthetics.In the cello major curriculum,there is a relative lack of modern cello works from the 20 th century,thus this paper focuses on two cello works composed by Kodaly in 1915 and Ligeti in 1948 as two examples to explore the "multi-voice" structural thinking and performance techniques of sonatas for unaccompanied cello during this period.With the guidance and support of Professor Ma Li,the purpose of this paper is to improve cello performance techniques,explore more effective learning methods,and better communicate the value of music.The main content of this thesis is divided into four chapters.In chapter one,the author briefly combs the two-century inheritance and development of the sonata for unaccompanied cello.In chapter two,the author analyzes the works of Ligeti's Sonata for Solo Cello.The analysis of performance interpretation includes the creative background,the multi-voice theme variation of the first movement,and the multi-level theme penetration of the second movement.In chapter three,the author analyzes Kodaly's Sonata for Solo Cello in terms of its structure and performance interpretation,including its background,morphological analysis and analysis of special tuning methods.Moving on to chapter four,the author examins literature about music performance and performance aesthetics.Combined with the author's own practice and performance experience,this chapter aims to further understand musical style and the psychology of music performance.This chapter also discusses how to inherit and develop cello playing as an art from the diverse perspectives of the humanities and artistic pursuit.