本文選題：軸心對(duì)稱 + 鏡像對(duì)稱��； 參考：《黃鐘(中國(guó).武漢音樂學(xué)院學(xué)報(bào))》2010年02期

【摘要】：文章從音樂分析課教學(xué)的角度出發(fā),選擇三位美國(guó)現(xiàn)代作曲家以"軸心鏡像對(duì)稱"為主要結(jié)構(gòu)思維的五首鋼琴短曲,通過詳細(xì)的圖形化分析,把縱向軸心對(duì)稱的音高結(jié)構(gòu)構(gòu)思和運(yùn)作方式,從理論上歸納為單一軸心對(duì)稱、移動(dòng)軸心對(duì)稱、多重軸心對(duì)稱和移動(dòng)多層軸心對(duì)稱四種類型,從而把握作曲家運(yùn)用對(duì)稱思維結(jié)構(gòu)和組織樂曲的具體思路和技法,為更深入地開掘此領(lǐng)域的創(chuàng)作積累必備的"個(gè)案"分析。
[Abstract]:From the point of view of the teaching of music analysis, this paper selects five piano short songs with the main structure thinking of "axial mirror symmetry" by three modern American composers, and through detailed graphic analysis, The pitch structure of longitudinal axis symmetry is conceptualized and operated into four types: single axis symmetry, moving axis symmetry, multi-axis symmetry and moving multi-layer axisymmetry, which can be divided into four types: single axis symmetry, moving axis symmetry, multiple axis symmetry and moving multi-layer axis symmetry. Therefore, it is necessary to grasp the concrete ideas and techniques of the composer to use the symmetrical thinking structure and to organize the music, and to accumulate the necessary case analysis for the further exploration of the creation in this field.
【作者單位】： 美國(guó)佛羅里達(dá)州立大學(xué);中央音樂學(xué)院作曲系;
【分類號(hào)】：J614.1

【共引文獻(xiàn)】

中國(guó)碩士學(xué)位論文全文數(shù)據(jù)庫 前1條

1 趙潔;高度的邏輯控制與強(qiáng)烈的戲劇情感表現(xiàn)[D];天津音樂學(xué)院;2007年

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本文編號(hào)：1870092