本文選題：譚盾 + 早期作品�。� 參考：《上海音樂學(xué)院》2013年博士論文

【摘要】：任何一部音樂作品都無法把其“內(nèi)容”與“外在”機械的、徹底的分離開來,自20世紀(jì)后,越來越多的作曲家將目光鎖定在觀念的新穎上,與之相輔的是現(xiàn)代音樂中技術(shù)與創(chuàng)作理念的貼合愈加的嚴(yán)絲合縫。在對此類作品分析時,我們不僅要關(guān)注其創(chuàng)作理念與創(chuàng)作技法的單一面,而更應(yīng)該在對二者的認識中尋找“觀念”與“形式”之間的關(guān)系。因此,賈達群教授根據(jù)20世紀(jì)后的音樂特點提出了“觀念與形式化程序的對應(yīng)”的分析手法,這也是他“結(jié)構(gòu)分析學(xué)”中的一個子項目。 譚盾是中國“先鋒音樂”的重要代表人物,他極富創(chuàng)新意識,其作品有著多元化的特征,形成了東西方的交融、民族與世界的相合、文化與文化的對位。而交融的藝術(shù)手法、“有機音樂”與傳統(tǒng)音樂的結(jié)合等等形式特征都源于他靈活新穎的創(chuàng)作觀念與音樂文本間的對應(yīng)。這種別具一格的特色在他早期作品就屢有顯現(xiàn),筆者從中選取四部以探索他風(fēng)格的形成之路。 論文分兩個部分,緒論中是對賈達群教授“觀念與形式化程序?qū)?yīng)”的理念概述。第一章是對譚盾早期四部作品的分析,包括《道極》、《樂隊劇場Ⅱ：Re》、《圓：為四個三重奏組、指揮和聽眾而作》、《死與火：與保羅·克利的對話》。第二章是譚盾作品中的人文理念與前衛(wèi)性。 本論題的研究,意圖以觀念與形式化程序相對應(yīng)的分析手法,通過對譚盾早期作品的分析來透視其音樂風(fēng)格的形成,以期對20世紀(jì)以來的音樂創(chuàng)作和理論建設(shè)提供新的線索和思路。
[Abstract]:No musical work can separate its "content" from "external" mechanically and completely. Since the 20th century, more and more composers have focused their attention on the novelty of ideas. Together with it is the modern music technology and creative ideas more and more close to the seam. In the analysis of this kind of works, we should not only pay attention to the single aspect of their creative ideas and techniques, but also look for the relationship between "ideas" and "forms" in their cognition. Therefore, according to the characteristics of music after the 20th century, Professor Jia Daqun put forward the analytical technique of "correspondence between concept and formal program", which is also a sub-project of his "structural analysis". Tan Dun is an important representative of "Pioneer Music" in China. He is full of innovative consciousness. His works have diversified characteristics, forming the blend of the East and the West, the harmony of the nation and the world, and the opposite of culture and culture. The blending of artistic techniques, the combination of "organic music" and traditional music, and so on, all stem from the correspondence between his flexible and novel creative ideas and musical texts. This unique feature has been shown repeatedly in his early works, from which the author chooses four to explore the formation of his style. This paper is divided into two parts, the introduction is an overview of Professor Jia Daqun's idea of "correspondence between concept and formal program". The first chapter is an analysis of four early works of Tan Dun, including Tao Pole, Orchestra II: re, Circle: for the four Trio groups, conductor and audience. "death and Fire: a Dialogue with Paul Klee". The second chapter is the humanistic idea and avantgarde in Tan Dun's works. The research of this thesis is intended to analyze the formation of Tan Dun's musical style through the analysis of his early works through the analysis of the concept and the formal program. In order to provide new clues and ideas for music creation and theoretical construction since the 20 th century.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2013
【分類號】：J614

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