Study On Piano Accompaniment Of Ravel’s Art Songs

As a famous French musician in the Impressionist period,Ravel created orchestral music,piano,opera,art songs,chamber music and other fields.He also integrated his rich experience in orchestral music creation,sensitivity to musical instrument timbre,and clever handling of acoustic level into his piano works.Ravel composed 39 art songs in his lifetime.Don Quichotte à Dulcinée consists of three vocal pieces(Chanson Romanesque,Chanson epique,Chanson boire).As the last one of his creative career,it has a distinct creation style of Ravel and is one of his representative vocal formulae.Studies on Ravel and Don Quichotte àDulcinée at home and abroad mainly include the aspects of life,creation background,music creation characteristics,etc.However,there are some problems in the studies of this cycle,such as insufficient analysis of creation characteristics,insufficient elaboration of performance characteristics,and insufficient research on the cooperation between piano and vocal music.Aiming at the above problems,this paper,by combining theory with practice and starting from the background of Ravel’s art songs creation,deeply analyzes the creative characteristics of the three art songs of vocal repertoire Don Quichotte à Dulcinée,and studies the performance characteristics of the repertoire from the three dimensions of Spanish dance genre,speed and style,and band-based thinking.Based on the creative characteristics and performance characteristics,Grasp the rhythm,rhythm,music processing,prelude,interlude,endgame and other cooperation points in the cooperation between vocal music and piano,so as to achieve the goal of harmonizing the piano and song.The results of this study provide a new Angle,a new idea and a new method for the harmonious cooperation between the performer and the singer of the vocal diverge Don Quichotte à Dulcinée.The main research contents and achievements are summarized as follows:1.Study on the creative characteristics of Don Quichotte à Dulcinée.In this paper,39 art songs of Ravel are sorted into three periods: early,middle and late,and the characteristics,life experiences and creative inspirations of Ravel’s music creation in different periods are analyzed.In addition,the background of Don Quichotte à Dulcinée is analyzed from the perspectives of literary character characteristics and film creation background.Combined with the creation period of Ravel’s art songs and the literary background of the vocal repertoire,this paper analyzes the hidden story context of the lyrics,and analyzes the concrete embodiment of Ravel’s unique creation characteristics in Don Quichotte à Dulcinée by case study from the four perspectives of musical structure,exotic atmosphere,chord form and harmonic techniques.2.Study on the performance characteristics of Don Quichotte à Dulcinée.Combining with the analysis of creative characteristics,centering on the genre of Spanish dance music in Don Quichotte à Dulcinée,the story plots of the three art songs are connected together,and the visual expression ways of different emotions and styles of "witty","solemn" and "cathartic" in the works are analyzed.The piano playing techniques of Don Quichotte àDulcinée are innovatively proposed based on the orchestral version score.It provides enlightenment of diversifying,diversifying and multi-perspective for developing the way of thinking and playing skills of piano music.The research shows that Ravel used three genres of Spanish dance music to make the divertigues of Don Quichotte à Dulcinée have strong rhythm and distinct Spanish national characteristics.In addition,Ravel’s musical pursuit of "less is more" in orchestration is deeply reflected in the orchestral version of the vocal cycle.In the selection and use of instrumental music,full consideration is given to the plot and character,which makes the musical interpretation more intense.3.Research on the Key points of piano and vocal cooperation in Don Quichotte àDulcinée.Based on the research results of the characteristics of creation and performance,this paper systematically expounds the " The aesthetics of power" in the cooperation between piano and vocal music from the three aspects of the changing beat,the mixed beat and the four or three beat used in the three acoustic pieces.From the two dimensions of breathing and syntax,volume and timbre,the cooperative relationship between vocal music and piano is clarified,the "The aesthetics of harmony" in music processing is explored,and the highlights of music expression are found in balance and coordination.This paper analyzes and studies the speed and style,tone and color,structure and harmony,situation,mood and emotion of prelude,interlude and finale in piano and vocal cooperation from two perspectives of musical cue and emotional rendering.This paper analyzes and studies the speed and style,tone and color,structure and harmony,situation,mood and emotion of prelude,interlude and finale in piano and vocal cooperation from two perspectives of musical cue and emotional rendering.The research shows that,in the pursuit of perfect rendition of vocal rhymes,the three parts of prelude,interlude and epilogue have become the key points that vocal singers and piano accompanists pay special attention to the three parts.