【摘要】：喬治·利蓋蒂是繼巴托克以后,最具有世界影響力的匈牙利作曲家,也是二十世紀(jì)樂壇上最具創(chuàng)造力的作曲家之一。利蓋蒂通過他的作品告訴人們除了傳統(tǒng)音樂與序列音樂以外,還有機(jī)械性音樂、靜態(tài)音樂等更多的音樂形式。他在其音樂作品中使用微分音、復(fù)合節(jié)奏、微復(fù)調(diào)、自然泛音等技術(shù)手段,把非常普通的音高材料重新組合結(jié)構(gòu),并為作品帶來了非常復(fù)雜的音響色彩。擺脫十二平均律的限制是20世紀(jì)作曲家的追求之一,微分音就是這方面的嘗試。利蓋蒂對微分音的嘗試最早出現(xiàn)在《羅馬尼亞協(xié)奏曲》,之后在《鋼琴三重奏》,《小提琴協(xié)奏曲》和《漢堡協(xié)奏曲》里他把兩種音律結(jié)合在了一起,以此來擺脫十二平均律的控制。本文以利蓋蒂的《漢堡協(xié)奏曲》這部作品為研究對象,通過從純律(泛音列)與十二平均律之間的基本音高入手,對全曲主要的音高關(guān)系與創(chuàng)作技法進(jìn)行詳細(xì)的分析。本文主要由以下幾個部分組成:第一章簡述了利蓋蒂的生平和《漢堡協(xié)奏曲》的創(chuàng)作背景;第二章和第三章通過作品中的音高實(shí)例,從純律(泛音列)與十二平均律為出發(fā)點(diǎn),主要研究《漢堡協(xié)奏曲》獨(dú)奏圓號,助奏(自然)圓號與樂隊(duì)之間的音高關(guān)系。第四章主要研究《漢堡協(xié)奏曲》七個樂章之間的音高關(guān)系。
[Abstract]:George Ligetti is one of the most influential Hungarian composers since Bartok and one of the most creative composers in the 20th century. Through his works, Ligatti tells people that in addition to traditional music and serial music, there are mechanical music, static music and other forms of music. In his musical works, he uses techniques such as differential tone, compound rhythm, micro-polyphony, natural overtone and so on, to recombine the very ordinary pitch materials and bring very complicated sound color to his works. It is one of the pursuits of 20th century composers to get rid of the limitation of the law of twelve averages, and differential sound is an attempt in this respect. Ligatti's attempt on differential sounds first appeared in Romania Concerto, then in Piano Trio, Violin Concerto and Hamburg Concerto, in which he combined the two rhythms in order to get rid of the control of the Twelve mean Rhythm. In this paper, the author takes "Hamburg Concerto" by Ligatti as the research object, through starting with the basic pitch between pure rhythm (general phonetic series) and twelve average law, analyzes the main pitch relation and creative technique of the whole song in detail. This paper is mainly composed of the following parts: the first chapter gives a brief account of Ligatti's life and the background of Hamburg Concerto, and the second and third chapters start from pure law and twelve average laws through the examples of pitch in his works. This paper mainly studies the relationship between the trumpet and the band. The fourth chapter mainly studies the relationship between the seven movements of Hamburg Concerto.
【學(xué)位授予單位】：西安音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J614

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