| As one of the greatest composers of romantic genre of Germany in the 19th century, Mendelssohn combined the essence of romantic music and that of classical music to exhibit the romantic style of music by using the classical composing skills. And by employing the"pure"musical performing skills to express a gentle and natural personal feeling, he created the unique piano works"song without words",which is the masterpiece in the history of romantic genre music.The main content of Song without words is made up of what Mendelssohn saw, heard and felt during his traveling in many countries during 1829 and 1845. It was composed in the form of piano works of short titles. Song without words was published by dividing into eight episodes, each of which includes six exquisite productions and one left-over production and there're 49 in total. Every piece of works is like a musical charcoal drawing and embodies a perfect harmony, hence presents a clear musical image and content. Among the nine titles that Mendelssohn made marks on, there are Op.19 No.3 hunting song and Op.67 No.4 spinning song that described people's daily life, Op.62 No.6 spring song that describes natural beauties and Boat song of Venice. These songs played a very important role in his creation of Song without words and provide a high research value for us in further studying Mendelssohn.Based on the social and family background of Mendelssohn, this article take the piano works song without words as the target of research. And through studying and learning a great number of materials and personal teaching and playing experience, analyzing the form of song without words and starting from the various aesthetic views of the romantic period, this article collectedly studies different classification of singing features and composing skills in order to explore the connotation of his works from different angles and offer a helping hand in further understanding the artistic value of Mendelssohn's song without words.This article is divided into five parts. The part of Introduction summarizes and studies the means, methods, meaning, emphasis and the current situation of research. The first chapter analyses the social and historical background and made a detailed analysis of the background of the creation of song without words and the change of Mendelssohn's thought of composing. This part also relates Mendelssohn's special ideas and feelings of composing and prepares us for understanding the musical aesthetic viewpoints of the works. Starting from the dialectic coordination of classicalism and romanticism and that of works'content and form, and the aesthetic angle of theory of self-discipline and theory of others-discipline, Chapter two examines the musical beauty coming out of the various contradictions of Song without words and offers theoretical evidence for exploring the singing features and composing skills of the works. Chapter three studies the singing feature of"pure music"of Song without words and the classification of vocal music types, according to composing techniques and the types of works, to analyze the musical characteristics of Song without words. Integrating the analysis of the precious three chapters, chapter four examines the playing techniques and musical presentation of Song without words in depth. And the part of epilogue summarizes the aesthetic traits of Song without words in composing:"the blend of romance and classicality, the combination of purity and reason". |
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