本文關(guān)鍵詞： 施尼特凱 《鋼琴五重奏》 核心動(dòng)機(jī)貫穿 結(jié)構(gòu)對(duì)位 復(fù)風(fēng)格　出處：《河南大學(xué)》2007年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】： 阿爾弗雷德·加里耶維奇·施尼特凱(Alfred Garriyevich Schnittke,1934-1998)是20世紀(jì)中后期俄羅斯現(xiàn)代音樂(lè)的代表人物,一位杰出的、富于創(chuàng)新精神的作曲家。施尼特凱一生創(chuàng)作頗豐,且形式多樣,其中不乏優(yōu)秀、經(jīng)典之作,為其贏得了國(guó)際性聲譽(yù)。他的音樂(lè)作品逐漸已成為作曲家與分析家們的研究熱點(diǎn)。 施尼特凱的《鋼琴五重奏》(Quintett für Klavier, zwei Violinen,Viola und Violoncello)創(chuàng)作于1972-1976年間,是作曲家創(chuàng)作歷時(shí)最長(zhǎng)的一部作品,也是他惟一的一部鋼琴五重奏。在該作品中,作曲家揚(yáng)棄了二戰(zhàn)后先鋒派的序列技法和比較理性的美學(xué)觀念,轉(zhuǎn)向突出音樂(lè)的抒情性和質(zhì)樸性,在處理音高、結(jié)構(gòu)以及音樂(lè)風(fēng)格諸方面,堪為經(jīng)典。該作品是施氏之創(chuàng)作進(jìn)入“全新創(chuàng)造性年代”的標(biāo)志;同時(shí)從1978年作曲家把《鋼琴五重奏》重新改編為樂(lè)隊(duì)版——《In Memorian》觀之,足見(jiàn)《鋼琴五重奏》在其一生創(chuàng)作中的中心地位。 目前,國(guó)內(nèi)外對(duì)施尼特凱音樂(lè)作品的研究已取得了不少成果,但對(duì)《鋼琴五重奏》這部作品,尚未作全面、透徹的分析。鑒于此,本文擬以施尼特凱的《鋼琴五重奏》為分析、研究對(duì)象,運(yùn)用作曲技術(shù)理論、音樂(lè)分析學(xué)和音樂(lè)史學(xué)等相關(guān)研究方法,從音高、結(jié)構(gòu)、風(fēng)格等視角,以文字說(shuō)明與圖譜詮釋相結(jié)合的方式,對(duì)施尼特凱的《鋼琴五重奏》中所體現(xiàn)出來(lái)的具有代表意義的創(chuàng)作技法進(jìn)行分析。通過(guò)具體的分析研究,客觀地評(píng)述施氏《鋼琴五重奏》中的核心動(dòng)機(jī)貫穿、多重結(jié)構(gòu)對(duì)位、多元風(fēng)格復(fù)合等創(chuàng)作技法以及在創(chuàng)作中所受到的時(shí)代背景和相關(guān)作曲家的影響作用,從而為探索施尼特凱在20世紀(jì)中后期,經(jīng)歷了理性的序列技法之后,如何審視“調(diào)性”、如何為作品結(jié)構(gòu)布局、如何進(jìn)行多元風(fēng)格拼貼等方面提供一個(gè)具體的實(shí)證。
[Abstract]:Alfred Garriyevich Schnittke. In 20th century, he was a representative figure of modern Russian music, an outstanding and innovative composer. Schnitke created a lot of works in his life and varied forms. His musical works have gradually become a hot research topic for composers and analysts. Schnitke's Piano Quintett f 眉 r Klavier, zwei Violinen. Viola und Violoncellov (1972-1976) is the longest work ever written by a composer. It is also his only piano quintet. In this work, the composer abandoned the sequenced techniques and more rational aesthetic concepts of the avant-garde school after World War II, turned to highlight the lyricism and simplicity of music, and to deal with pitch. The structure and the style of music can be regarded as classics. This work is the symbol of Shi's creation entering the "new creative age". At the same time, since 1978, the composer readapted Piano Quintet to the band edition < in Memorian >, which shows the central position of Piano Quintet in his lifetime creation. At present, many achievements have been made in the study of Schnitkey's musical works at home and abroad, but the work of Piano Quintet has not been comprehensively and thoroughly analyzed. This paper takes Snitkey's Piano Quintet as the research object, using the theory of composition technology, music analysis and music history, from the perspective of pitch, structure, style and so on. In the way of the combination of the description of words and the interpretation of the atlas, this paper analyzes the creative techniques of representative significance embodied in Schnitkey's Piano Quintet. This paper objectively comments on the core motivation of Shi's Piano Quintet, the combination of multiple structures, multiple styles, and other creative techniques, as well as the influence of the background of the times and the influence of the composers concerned. In 20th century, after experiencing the rational sequence techniques, how to examine the "tonality" and how to lay out the structure of the works. How to carry out multi-style collage and other aspects to provide a specific demonstration.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類(lèi)號(hào)】：J624.1

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 胡筱錚;施尼特凱室內(nèi)樂(lè)作品中的復(fù)風(fēng)格研究[D];上海音樂(lè)學(xué)院;2012年

相關(guān)碩士學(xué)位論文 前1條

1 崔哲;施尼特凱<弦樂(lè)三重奏>創(chuàng)作技法研究[D];山東藝術(shù)學(xué)院;2012年

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本文編號(hào)：1481393