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CP 52892006 4698 3 Kenneth Drake: The Beethoven Sonatas and the Creative Bxperience, Indiana Univesity Press p. 183. OB TERT IIE mR: CATER AR DAB ATT REA: 1988 6 95 OTL TL ® Pavicia Ranune “Audible Rhetoric snl Mute Rhetorie The 17th Century French Sarabanile”+ Karly Muses Vol. 4. No. (Feb, 1986) » p.22. SEPM A MARAE WT DL AATEC (ALEC EY EAR FBLA 2007 A 10 Fy 6 FA LM i A CIB LAE AC Ha A A FET = MAF RIKI: Op.2 -3.0p.7 A Op.5318 REE ROR Fe RA 2014 AF 4 RS PENA S05 heb TKS HE RB RB Re 1280 TP KP KS701P (7 SL a CE lt) K280 TIBI - 8 K331 LT. Bea K281 I 1284 TI ait fare nik Kas ae T KS 570 1 Anew KS35 SL SAD 280 I 1289 TL 1332 K576 1 at EK CS fit) K3H BIS -16 BRR K283 1 B16 =22 | KAT TBI = 12 | KS9S 1 BS —12 [R310 1 B23 —35 ge kas3 1's kas? Ss ksas tp | KST018 EWI R331 1 Vor. VI_| _K331 1 1A A Kaa He PU K309 IL K332.11 K333. IL HEM A K3I0 1 KATS Allegro [KAS Pin Alege 28H KB I KATS Adagio 48 24 AE K281 1 B22 -26 | _K576 | B9 - 15, WT 309 1 1SILIP. Kas 1P BATE LAL PCAN UTD SE ety es Ae LA 2 i A a SEB —h RET Me SERINE A AL A ETE AE ARH EZ AT ERD Bp A TE SH TA RE AL PI EA RS AMER BOE — TT OMEN R SEA RTT OE ML SF OO RL Ame? ATL ELK 4 al 8 BL ARERR TK oh ESLER Ma. Be Yh ke A LY J EUR A TI A OIE RR 6 246A CDmitrk Smirnov) 48 tH FILE LY HAIL Ay B) GFE FE 16 9K 5 A 9 COp. 135) FY SR AYALA CS Em DH — ee iL" AL ito) 3S 3E Ow ATH 18 HANH DCOp. 31 —3) A Hei 5 IE AE 16 MRP ACD EIU RA Ceo YT Ree LORD wpa ga 218) Whi arn 8 ‘Gave aon rp rate Oh fe Dee AP AARNE, S Hala ET NEHER. BH mite Smimow: The Anawomy: of Theme in Beethoven" s Plano Sonatas, p. 112, Verlag Emst Kubn, 2008. 2 Dmitei Smirnov: The Anatomy’ of Theme in Beethoven" s Piano Sonatas, p. ILLSe AMEE Ce kop op. 31 3) HHA 19 He CARE TR ORB 5 10 AH Sed LL TE Pe AT 3 A ASAE BEA A FLAT AE RR A ALI Aa AE MS BS ZH A FE ob A eS 8-15] BAS WA A TT A HG ER PTT FRCL W118 AM AS ely HN HBT SRE A. RATS AS Bl Si» A SOD Ba PE REAR a BRR RE AT PCE. 9 OI Et BAS I A 5 BEA HE HY 33 - 38 dy WMT lactis. FD B12 — AS AY LAGI A AG PSK Se A AB” 3 I CEE AT ~25 AAS AIF OU aL A SAM SLO, LI LG Se A ACA EUG HH} (Op. 14 = 1) VSR 16-21 Ap TSA ER LAR 73 EN JS BH 9b SOR A mae SR WY Hs 2B 2843 lv" iL eet SHAM (!° VINE) $5 USE EAT HE BP Ja ARVARUAD-SY = CEM 2 A AEP AEB LA vitae. COB 3 AMS ANB 12 AVE) IC © COB 6 Ay HAI 15 JW) ELI 35 — 43 EH BY Pe A 7 ABS “SE AE A PE A ES kG EO ‘RF RY ET TAPE SIG TORENT AE PR EBE (University of Mlinois, School of Music) $42 Kenneth Drake '94rHF U1 AE DASA JI — Ai ATS i LITE ANAT RB INN AEH. Drake BURME HBT ALL TS CORI AEZS) NUR Z Sb RR EE A, IPE AS EE SEAN LI RG ALA SL TA AG TR BE A SC me SR a AS SY 9 8 FS A A I — BA AS HMC.” PAK — A BT ie SAAT PALE BATE AR QI tk AURA “PAT” EES PGR JR SEE A a a IE E25 A EOL A (il BE th RF oh HE — HE. SA ACTH APA RACT AT LAF A SG EE AS A EA I LH” i: 1, Allegro i /824H 12 A ritardande (fy $i SIE M6 ft) EA 2. MEM My AK: 3. FOAT HE NERS TE RUE ASN 4. ALA T BY EBSA ESE AR DARA 5 5S. DBR 44 45 ANT" KAI GE, Ya IEP ADA LER OS a A PAT A: BEAR FBS a FL 0D» Be Se ea” LTO“ SS” TP 2§ 5 IR 1h BO PACT A BER AE A SA Sas BE a A» AT A BRAT ROARING AE, GE SLAP PAP AL AE Fi Ak em th A PATS RE MR AK SBIR BAR AY AR POL He 6 2G IE ® PA a A“ hk 78. EZ ARNE ® Charles Rosen: Beethoven’ s Piano Sonatas: A Short Companions p. 174+ Yale University Press+ 2002. CLS 1802 1.7 13 FLSIRLLAS ATA RH ACAI NG ARS A. CLA ASD FL) SIGMA AP ANAEAL 2002 SFI. E54 ~35 TL sLLA Michael E. Broyles "Beethoven" s Sonata Op. My No. + Originally for Strings?" » JAMS, Vol.23+ No.3 (Autunmay 1970) + pp.405 ~419 fil Carl Schachter “Beethoven” s ‘Sketches forthe First Movement of Op. 14, No.1: A Study in Design’. JM, Vol. 26. No.1 (Spring 1982) + pp. 1 —21 B Kenneth Drake: The Beethoven Sonatas anu the Creative Experience, yp. 184 ~ 185, RARE wae a mR Rosen: Beethoven"s Piano Sonatas, p.176.20 HEF (SRR SRE RE ENR) 2018 HE 1.214 8A a 2. i 8 amy oA ek — A HY A AN 9 a» (Op. 125) 93% 3. LE sR ES ACH itr ¢ 4. CEI 35 ACH Ze SRIA AUBLEA op LAB Ts 5, Hi) Laden st. SA eh YS = AL ae EH" h he” HHS BE HAC CL Ya FLAS PA BY Ave EDS HOA BE SE (a LAC BL Ta, A AAD IE Ea 3 ob HEE TERS sie ta Waee, a] es ]e2) ke (Op.2—1 Menuetto. Allegento | 3/4 | J.= | 9 | 2 | 38 | 54 | 66 | SA Op. 103 I Menuetto. Allegro 34 [J 76 | 84 2-10) 76 | 2 | 7 09.22 I Minuetto 34 | J.= [120 | 126 | 10 | 96 | 16 | 92 Op.31=3 I | Menuctio, Moderato «gaat | 3/4 [J 38196 [96 | 92) 80 | 80 0p.49 2 11 Tempo di Menuetto 3/4 12 20 | 2 | 2 | 2 0p.54 1 Tn Tempo d”un Menuetto | 3/4 TOS | 120 | 120 |e. 120) c. 108]. 108 SKER ATA RTL, Op. 31 ~ 3 (A = LE AT CIN FF Bd Be mG 2 Alo FEIT a 7 AHI 8 yA BF Mire) INE AG Se BEAL oR A AE, AB OL EA LH 1% GA Bem yD Se Ho Ae YO AK A BE A ES EL, MA DU i A Bl PE FY SS A A 8 A a A SISTA EB AZ HAZ AD RT HR 6 Re RETA ew I= FR SA AT Ay eB ab A TTT A SARA SAAB LAR» EAS RE PL a BA PE ELE so OE | PF aS i HG dab th AR HH CV 4a A ZF) A HD BST) iL 4 a OH cam 8 en = aA op aA ICI He 5) fo A YA Hes MRE HM TAIL. Ket Donald raneis Tosey> A Companion 10 Beethonen’ + Pianofarte Sonatas (Re~ ised Eition) , p. 133+ The Associated Board ofthe Royal School of Musics 1998, VR au A WAR O IE 1874 GL — BRA LAE Op. 35. &% FRRIRET You ~ Wha Tsao: Beethoven” s Tempo in Mis Thity ~ ao Piano Sonatas, pp.44 49, DMAy Claremont, 096, AB HT EOD A Califia a ASIA Complete Theoretical and Practical Piano Forte School, Op-S00 (1864)

Op. 31 —3) GH T 1802 4, THE AE 1802 HEAR A, SEAL T Ma See AAS = IB MS AE BRT TET A CB — Sem A > AR a 30 SOY Cae SSMS OD LE sh 33S) CERTAIN AND DLR ATE A ih 31 SOY we CHM EG HD ZI HI ET BAIN) A ‘ARE HMI > iedlgenstade Testament) i J Hef 3A 5 SEN MN IF A PI TA 1802.4 10 16 Fa ESCA AL 10/310 EL. 3k — FA RE Ak A a I EL PA AEA OA LE. 1802 $F 10 FB Ls BE oe A REA PL BY ATM HY A RELER OME 7 ASAE AE A APE SEAL RR Fh AB 30 A Ee ks SRE 8) DA AT TR A AB Ce BLUE EAE AME Op. 34 AL Op. 35. TAS SR Ie FO a HE A BEE ASH Is “Kesler” ALFA Le. GAS CAA IU 3 BL BOL EER EC I 5 CL IEA LR UIE, DOCEIK } CAAA Le, SBALIML 7 Op. 31-1 A Op. 31-2 IRAE. 8 Aim Fem Hh Op. 31-3) AEE AE Wiethorsky BERRA Kk — AR AAR AT HEAL & a5 He 1802 RT HCAS» Rt BCH LAG Opp. 34,35 (AB ALA A He BLA (HALA wy HEA Op. 231 RSE a — ike eet Ma ee 1803 A 4g CU eng 9 — ARE = Laudwig Finseher 18948 SAR AS HEL J YB A hE A A A PH @ Jing Demue “Sonata Opus 31/3 Es —Dur”, Bal, J? sg Deus and Badurs ~Skola, The Piano Sonata of Ludwig van Beethoven, 1970s p. 116. Donald ‘Torey: A Companion to Beethoren’s Pianoforte Sonatas, 1931+ p. 130, @® Amol Schering: Zur Erkennnis Bovthoven: Neue Beitrage zur Deutung Seiner Werke, Warahurg - Aumule: Konan ‘Trilue Verlag 1, 1938, pp. 13 ~28 8) $1 Joueph Oseph Kerman, Alan Tyson “Beethoven” [5.12], Fl, Stanley Sadie, New Grow Dictionary of Music ‘aud Musicians H.24 OF CGRERAT SRE RG ENR) 2O18 SE MSSM TARA HIN NLT JL PR Ka mL fa) LAE The ESR" — HAH ‘ERE 1 ME, Finscher UE AE WL OF NY IELIG «BA mew way TU 3-H new manner, JL #i 8K HHH» 5 AW I — BBG AS WALA ta «ED Opp, 30 BAST mA TA» PEL ih A ER 3 BE nh LA AO A ok SA RATER ee SS wh Se BRAT RS WAY TE A ACH RE EE ORL A UR T= Sts «RR Aa WS AR OR GK — FAR iH «AAC EM TL EH PALA A AO ay TREAT BE Si aL EY A» RATT FS A A AR A BB Eh = RR Bs: # Bw sey SR wie SR BRAT EA LAB OL 3 BS D8 PARA EI FH eS AEM Jah SLAM J — EGA i$ TA BA AL ‘We & Se TE eA Sk PET en — Pa IEE = SRD I PAT ANAS WEG Sk A” AE A HA FY EAE DE LTRS RF OE” AR TES EAR ACE I mT A — BRI UL Se RIT BERTI LA AR AG Ai UA AR EE RIA HE VARA ALR A BRAT OL AS Bt A RAR AR EG IM ZOHO LS SPRATT AS AE AA eR TA RH Sa 5 2 ARI Te ESET AS ASA A a ead SA = 8) AEN REAR T UC RAT ce EA, SDE « tT ASB CO “RE RR SU ROT 5 SE ATT, RCE JAE FE UT — AB” GF AFL OW RA HM SUS TERRA PEAR AACE IE A (85 AA OB AEA SR A AE BL Pe A A a RAE CSEIR HT ULAR 9 HVAT ZEN AE SCA IEA SR” LA ADE. SEE AOI Rh AE ERM HAC Ais wh FE ON i RE SATS RE Hah A ERE RA) ME A DR” HERA TE PAF AT A i A a A SB EE» RT ae aw. EAA EEDA OA i PNP ABT YE AVA EN Covet. A eA IC Ya “Using things as thingss but not used by things an things”. "WDAN"Iy “DLAI” 2 BE. DEE BILL. ANN ARE EE ks PEE YY RON AR NTA” ALPINE IR OC AR le ® Lateig 31,3: Am attempt at an Tntentetation) » Laue Fincher and Christoph ~ Hellmat Mahling, eds.» Festschrift far Walter Wire “Beethoven Klaversonate opus. 31,3. Versuch einer Interpretation” (Beethoven” s Piano Sonat Opus 2m 30, Deember 1966, (Commenoative Inve for Waker Wiors on the 30° of December, 1966) + Bireneter ~ Verlag Kassel. 1967, p. 387 {Finches “Bovthoven Klaviersnate opus. 3143. Versuch eine Ierpeation”» p. 388 {@ inches "Beothoven Klavierionate opus. 31,3. Veruich ener Interpretation” p.396,SR A AMS Ce Ao eN FA Pop. 31-3) ARDELL 25 es A HAA SE A AER I EG A EL EL AURA A AS AEA RADHA PR TIE A AE BEE AS HN Sk EAT A BAT OF AN” a” WAT A A A A Task — EME APE ACS MT SE HL | 9 Me" LR ELAS 050302) eA fordt Sh BE CI9TS —) Maks. baie es =) Keo RUT eID CAE 204670) ‘Ge H I :2014-06-26 RPA, TUE EN LHF 200031) sel (1972 (teem ah A) On the Implicit Narrative of Beethoven Piano Sonata no. 18 in E flat Major, Op.31, no. 3 ZOU Yan & LIU Li Abstract: Starting from the theory of musical narratology and musical rhetoric, this article discussed this sonata of Beethoven on three levels of "layer of evident narration" » "layer of latent narration" and " layer of nder the background of researching music genres and musical historiography, related to the image narrative content of musical texture writing and notation, interpreted the narrative connotation embodied by special thet~ Key Words: musical analysis; rhetoric; narrative: musie genres