英文摘要 |
The performance of unaccompanied music has always been an important subject for musicians, especially violinists. Contemporary musicians have written extensively on the practice and performance of unaccompanied violin works and especially from the pedagogical approach. In interpreting unaccompanied music, performers are suggested to focus on the melodic lines, interpret the embedded harmonic pattern, and also attend the underlying bass line. Generally speaking, the bass line not only enriches the sonority of unaccompanied music, but also creates a multi-dimensional acoustic effect. Since late 17th century, the genre of unaccompanied violin pieces became popular among composers and it reached the peak with Sonaten und Partiten für Violine solo (Sonatas and Partitas for Solo Violin, BWV 1001-1006) by Johann Sebastian Bach (1685-1750) during the 18th century. With the composers' interest diverted to other musical genres, compositions for unaccompanied violin works decline in number and it was not until the 20th century that saw its revival. This article examines Partita No. 2 (BWV 1004) by J. S. Bach and discusses the application and interpretation of the bass line in this work in order to generate new interest and perspective for the performance and appreciation of this work. |