本文選題：分層解讀 + 聲音媒介　； 參考：《中央音樂(lè)學(xué)院》2010年博士論文

【摘要】： 20世紀(jì)后半葉,電子音樂(lè)“形成了一個(gè)較為復(fù)雜而龐大的族群”,并步入了快速發(fā)展的時(shí)期,作品數(shù)量眾多、種類繁復(fù)。由于“傳統(tǒng)音樂(lè)”與電子音樂(lè)在音樂(lè)分析對(duì)象上存在明顯差異。“傳統(tǒng)音樂(lè)”主要以音符形態(tài)作為分析對(duì)象；而電子音樂(lè)主要以音響形態(tài)作為分析對(duì)象。兩者之間形成了不同的符號(hào)體系-即“傳統(tǒng)音樂(lè)”形成的“音符體系”和電子音樂(lè)形成的“聲音體系”。所以適用于音符體系的傳統(tǒng)音樂(lè)分析理論不能夠在電子音樂(lè)作品中照搬使用。因此,近年來(lái)無(wú)論從教學(xué)、研究、創(chuàng)作等方面,電子音樂(lè)的分析都成為當(dāng)今理論家和作曲家不得不面對(duì)的課題。 本論文所闡述的電子音樂(lè)作品的“分層解讀法”,是基于現(xiàn)象學(xué)大師胡塞爾的對(duì)藝術(shù)作品意向性理論,并從審美現(xiàn)象學(xué)角度來(lái)審視電子音樂(lè)作品的分析法。胡氏認(rèn)為“藝術(shù)是一種結(jié)構(gòu)性存在”,并強(qiáng)調(diào)了藝術(shù)作品在主體與被意識(shí)客體之間的關(guān)系結(jié)構(gòu)。而其學(xué)生英伽登在此基礎(chǔ)上建立了由物質(zhì)、形式、存在三方面組成的本體論,并在《文學(xué)的藝術(shù)作品》中提出了對(duì)文本的結(jié)構(gòu)層次理論,即“語(yǔ)音”、“語(yǔ)義”、“系統(tǒng)方向”和“被表現(xiàn)的客體層”四個(gè)結(jié)構(gòu)層次。本論文將胡塞爾、英迦登意向性理論引用和借鑒到電子音樂(lè)作品分析的理論和實(shí)踐中,大膽地提出“分層解讀法”,即透過(guò)“聲音媒介層”、“音樂(lè)語(yǔ)匯層”、“系統(tǒng)方向”和“作品意蘊(yùn)層”四個(gè)層次,借助于現(xiàn)代計(jì)算機(jī)工具,融合傳統(tǒng)音樂(lè)作品分析精華來(lái)對(duì)電子音樂(lè)作品進(jìn)行一種綜合分析。利用數(shù)字化時(shí)代的各種音頻測(cè)量軟件對(duì)“聲音媒介層”“語(yǔ)匯形象層”進(jìn)行可視化分析研究,從胡塞爾的審美現(xiàn)象學(xué)角度出發(fā)，，用感性智慧對(duì)電子音樂(lè)作品的“系統(tǒng)方向?qū)印焙汀白髌芬馓N(yùn)層”進(jìn)行深入解讀。 緒論中概述了“傳統(tǒng)音樂(lè)”與電子音樂(lè)作品分析理論的發(fā)展現(xiàn)狀。第一章設(shè)計(jì)和提出“分層解讀法”的具體實(shí)施方案以及分析方法綱要；第二章具體實(shí)施“分層解讀法”,選用了“具體音樂(lè)”、“磁帶音樂(lè)”、“電子聲學(xué)音樂(lè)”、“計(jì)算機(jī)音樂(lè)”和“多媒體音樂(lè)”五個(gè)不同時(shí)期的五首經(jīng)典作品,首次試用“分層解讀法”進(jìn)行逐層分析,意在對(duì)這種“由表及里,逐層滲透”的新方法進(jìn)行可行性探索實(shí)驗(yàn)；第三章概述電子音樂(lè)分析的多樣性、特殊性、復(fù)雜性,并從“多元并存”的后現(xiàn)代藝術(shù)發(fā)展觀的角度進(jìn)一步說(shuō)明“分層解讀法”的現(xiàn)實(shí)意義。 分層解讀法”不是包治百病的分析法,而是一種開(kāi)放、融合、創(chuàng)新的綜合分析法。作為一門(mén)音樂(lè)與科技交緣,理論與實(shí)踐為一體的新興學(xué)科,電子音樂(lè)分析理論目前充滿了機(jī)遇和挑戰(zhàn)。希望“分層解讀法”的提出對(duì)當(dāng)今的教學(xué)、創(chuàng)作以及電子音樂(lè)分析理論發(fā)展具有一定的啟示作用,并隨著時(shí)代的發(fā)展進(jìn)一步的改進(jìn)、完善。
[Abstract]:In the second half of the 20th century, electronic music "formed a complex and huge ethnic group" and entered a period of rapid development. There are obvious differences between traditional music and electronic music on the object of music analysis. The traditional music mainly takes the note form as the analysis object, while the electronic music mainly takes the sound form as the analysis object. There are different symbol systems between them, that is, the note system formed by traditional music and the sound system formed by electronic music. Therefore, the traditional music analysis theory, which is suitable for the system of notes, can not be used in electronic music works. Therefore, in recent years, the analysis of electronic music has become a subject that theorists and composers have to face in terms of teaching, research and creation. The "layered interpretation" of electronic music works described in this paper is based on Husserl's theory of intentionality of works of art and the analysis of electronic music works from the perspective of aesthetic phenomenology. Hu thinks that "art is a kind of structural existence" and emphasizes the relationship between the subject and the object of consciousness. On the basis of this, Ingatton, a student, establishes the ontology of substance, form and existence, and puts forward the theory of structural hierarchy of the text in his works of Art in Literature, that is, "phonetic" and "semantic". System orientation and object layer are four levels of structure. This paper applies Husserl's and Ingadden's intentionality theory to the theory and practice of the analysis of electronic music works, and puts forward boldly the method of "layered interpretation", that is, through "sound media layer" and "musical lexical layer". With the help of modern computer tools, the four levels of "system orientation" and "meaning layer of works" are combined with the essence of traditional music works to make a comprehensive analysis of electronic music works. By using various audio measurement software in the digital age, the visual analysis and research on the "voice media layer" and "vocabulary image layer" are carried out, and from the perspective of Husserl's aesthetic phenomenology, With perceptual wisdom, the systematic direction layer and the meaning layer of electronic music works are deeply interpreted. The introduction outlines the development of traditional music and electronic music analysis theory. The first chapter designs and puts forward the concrete implementation plan and the analysis method outline of the "layered interpretation method", the second chapter concretely implements the "layered interpretation method", selects "specific music", "tape music", "electronic acoustics music", "computer Music" and "Multimedia Music" in five different periods of five classical works, the first use of "layered interpretation" to analyze the new method is intended to "from the outside to the inside, layer by layer" of the new method of feasibility exploration experiment; The third chapter summarizes the diversity, particularity and complexity of electronic music analysis, and further explains the practical significance of "layered interpretation method" from the perspective of "pluralistic coexistence" postmodern artistic development view. Delamination is not a comprehensive method for treating all diseases, but an open, integrated and innovative analysis method. As a new subject of music and science, theory and practice, the theory of electronic music analysis is full of opportunities and challenges. It is hoped that the introduction of "layered interpretation method" will have some enlightening effect on the teaching, creation and the development of electronic music analysis theory, and will be improved and perfected with the development of the times.
【學(xué)位授予單位】：中央音樂(lè)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類號(hào)】：J618

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 宋寧;電子音樂(lè)中的互動(dòng)行為構(gòu)架[D];南京航空航天大學(xué);2012年

2 馮小龍;聲音的藝術(shù)[D];四川師范大學(xué);2012年

本文編號(hào)：2113903