熟悉古典音乐的朋友大概都知道,古典音乐的写作一般离不开一种固有的模式:如奏鸣曲式、发展部、呈示部、展开部等等;这种模式往往成为我们聆赏音乐的重要依据。因此我发现,在这类大同小异的曲式结构中,你只要听懂了贝多芬、莫扎特,也就同时可以接受舒伯特、布拉姆斯和门德尔松;虽然在作品的审美内涵上、在表述的抒情方式上、在旋律织体的组合编排上,他们均存有明显的 Friends who are familiar with classical music probably know that the writing of classical music is generally inseparable from an inherent mode: such as sonata, development, presentation, expansion and so on; this model often becomes an important basis for us to listen to music . Therefore, I found that in such similar curved structures, as long as you understand Beethoven and Mozart, you can also accept Schubert, Brahms and Mendelssohn at the same time. Although the aesthetic connotation of the work, In the lyrical manner of expression, in the combined arrangement of melody weave, they all have obvious