Tempo-vigor Comparative Analysis Of The Performed Version Of Liszt’s Piano Transcription "Erlk(?)nig"

Liszt-Schubert Art Song Adaptation "Erlk(?)nig" is one of the most representative adaptations of Schubert’s art songs composed by Liszt.The work describes the story of a father who is speeding home with his sick child in his arms,and on the way the devil appears to take the child’s life.The story presents four characters: the narrator,the father,the child and the devil,and the whole work has a clear story line and contrasting characters.In order to better understand the musical style characteristics of "Erlk(?)nig" and to grasp the musical images of different characters in the piece,the author used the vmus.net music visualization and analysis platform to compare and analyze the recorded versions of different performers,with the intention of obtaining theoretical empirical basis for learning.In this paper,four performance versions of Egon Petri,Lazar Berman,Evgeny Kissin,and Yujia Wang are selected,hoping that the analysis of these performance versions will provide feasible references and guidance for the performers’ future performance activities.The paper is divided into three parts: Introduction,Body and Conclusion.The introductory section includes the reason for the selection of the topic,a review of related studies,and the significance of the selection.The main part consists of fore chapters: 1.The background and characteristics of Erlk(?)nig,which briefly explains the relevant background of Erlk(?)nig.The Lord of the Rings was published and introduced by the famous German poet Goethe in 1781,adapted by Schubert in 1815 to create an art song of the same name,and adapted by Liszt in 1838 as a piano adaptation.Erlk(?)nig is a classic of Romantic period songs and represents Schubert’s highest achievement.When Liszt adapted Erlk(?)nig,he not only well combined the vocals in the work with the piano accompaniment,but also inherited the style of combining literary connotation and music that Schubert admired.2.An overview of the performance versions,mainly introducing the four performers selected for the article with their related performance versions.A brief introduction to Petri,Berman,Kissin,and Wang Yujia is given.3.The tempo-vocality visualization of the different versions is analyzed.The tempo-vocality characteristics of the four versions and the passages are discussed in detail by comparing the tempo-vocality graphs.The article compares and analyzes the performance characteristics of the four composers’ pieces as a whole,and the musical treatment of the four performers in performing different roles according to the section of the piece.4.Conclusions and Insights.This chapter summarizes the playing styles of the four performers and describes the insights that the comparative analysis of the versions can bring to our own learning and playing.The concluding section summarizes the research and analysis of the relevant contents of the article as well as reflections on future learning exercises.The article takes quantitative analysis of musical performances as the basis of research,and uses music visualization techniques as a means to transform different forms of audio into data form and eventually project them onto charts,with the aim of reflecting abstract acoustic features in intuitive data comparisons and image forms.By studying the data of different versions and comparing and analyzing the processing of different performance versions,we can summarize the consistency of the four performers and draw out the differences in their performance styles,so as to deepen the understanding of the works and improve the performance methods in order to achieve the ideal performance effect.