本文選題：微變奏 + 恒定因素��； 參考：《上海音樂(lè)學(xué)院》2008年博士論文

【摘要】： 本論文的核心論點(diǎn)為微變奏。微變奏是通過(guò)本人對(duì)簡(jiǎn)約主義音樂(lè)作曲技法的研究、歸納而提出的一個(gè)關(guān)于作曲技法的新概念。論文試圖通過(guò)對(duì)于微變奏概念與簡(jiǎn)約主義音樂(lè)美學(xué)思想之關(guān)系的探討及對(duì)于微變奏技法在簡(jiǎn)約主義音樂(lè)作品中的實(shí)際運(yùn)用等證明了微變奏概念提出的合理性。 除序言和后記外,論文由四個(gè)部分組成:一,簡(jiǎn)約主義音樂(lè)。二,微變奏。三,微變奏在簡(jiǎn)約主義音樂(lè)中的運(yùn)用。四,結(jié)論。 在第一部分“簡(jiǎn)約主義音樂(lè)”中,就如何看待簡(jiǎn)約主義音樂(lè)提出了“簡(jiǎn)約主義音樂(lè)不僅僅因?yàn)樵诿缹W(xué)上是二十世紀(jì)上半葉諸多高度抽象、晦澀復(fù)雜音樂(lè)(如數(shù)字化的十二音序列、整體序列及其它無(wú)調(diào)性音樂(lè)等)的反動(dòng)而產(chǎn)生,同時(shí),其在作曲技術(shù)方面也已逐步形成了以其美學(xué)思想為基礎(chǔ),源于西方傳統(tǒng)作曲技術(shù)并融入東方音樂(lè)元素的,作為一個(gè)流派必須具有的共同特征的風(fēng)格和手段”的個(gè)人觀點(diǎn),并就簡(jiǎn)約主義美學(xué)思想和創(chuàng)作觀念形成的背景及始源進(jìn)行了探討。 第二部分“微變奏”包括了微變奏與傳統(tǒng)變奏之異同,微變奏與簡(jiǎn)約主義美學(xué)思想之關(guān)聯(lián),微變奏之定義及微變奏之類型等內(nèi)容。 第三部分“微變奏在簡(jiǎn)約主義音樂(lè)中的運(yùn)用”是本論文的核心部分,該部分以微變奏的七個(gè)類型為線索,對(duì)簡(jiǎn)約主義代表性作曲家作品中微變奏技法運(yùn)用的實(shí)例進(jìn)行了分析論證,實(shí)際例證涉及獨(dú)奏(《鋼琴相位》),重奏(《弦樂(lè)四重奏》),室內(nèi)樂(lè)(《城市生活》)及管弦樂(lè)(《樂(lè)隊(duì)和聲學(xué)》)等體裁,也包括預(yù)制音樂(lè)(磁帶,《紐約對(duì)位》),合成器(《劍魚座》)及響棒(古巴民間樂(lè)器,《為木制樂(lè)器而作的音樂(lè)》)等形式。 第四部分為“結(jié)論”,是對(duì)前面三個(gè)部分的論證的總結(jié)。事實(shí)證明,簡(jiǎn)約主義作曲家作品中確實(shí)存在大量文中所列七個(gè)類型的微變奏技法,這些實(shí)例不僅能夠證明微變奏概念的成立,同時(shí)也能夠證明微變奏作為簡(jiǎn)約主義作曲技術(shù)之“綱”的含義。該部分同時(shí)就微變奏概念對(duì)于教學(xué)與創(chuàng)作等的現(xiàn)實(shí)意義進(jìn)行了相關(guān)論述。
[Abstract]:The core point of this thesis is microvariation. Microvariation is a new concept about composition technique, which is put forward by my research on minimalist music composition technique. This paper attempts to prove the rationality of the concept of microvariation through the discussion of the relationship between the concept of microvariation and the aesthetic thought of minimalist music, as well as the practical application of microvariation techniques in minimalist musical works. Besides preface and postscript, the thesis consists of four parts: first, minimalist music. Second, microvariation. Third, the use of microvariation in minimalist music. IV. Conclusions In the first part of "minimalist Music", it is proposed that "minimalist music is not only aesthetically highly abstract in the first half of the twentieth century." Obscure and complex music (such as digital 12-tone sequence, whole sequence and other non-tonality music) is reactionary, and its composing technology has gradually formed its aesthetic thought. A personal view that originates from the traditional Western composition techniques and incorporates the elements of oriental music, as a style and means that must be shared by a school of thought, The background and origin of the formation of minimalist aesthetic thoughts and creative ideas are also discussed. The second part includes the similarities and differences between microvariation and traditional variation, the relationship between microvariation and minimalist aesthetic thought, the definition and type of microvariation. The third part, "the use of microvariation in minimalist music", is the core part of this paper, which takes the seven types of microvariation as the clue. This paper analyzes and demonstrates the application of microvariation techniques in the works of representative minimalist composers. Examples include solo (piano phase), ensemble (string quartet), chamber music (city life) and orchestral music (band and acoustics). It also includes prefabricated music (tapes, New York pairs), synthesizers (Swordfish) and sound sticks (Cuban folk instruments, < music for wooden instruments) and so on. The fourth part is the conclusion, which is the summary of the former three parts. It has been proved that there are seven types of microvariation techniques in the works of minimalist composers. These examples can not only prove the establishment of the concept of microvariation. At the same time, it can also prove the meaning of microvariation as the outline of minimalist composition technology. At the same time, this part discusses the practical significance of the concept of microvariation for teaching and creation.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2008
【分類號(hào)】：J614.5

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前3條

1 孫曉燁;賦格寫作中十二音序列技法的研究[D];南京藝術(shù)學(xué)院;2011年

2 溫展力;音樂(lè)視野中的觀念藝術(shù)研究[D];中國(guó)音樂(lè)學(xué)院;2011年

3 許琛;阿沃·帕特鐘鳴音樂(lè)研究[D];上海音樂(lè)學(xué)院;2011年

相關(guān)碩士學(xué)位論文 前3條

1 樊希;論盧托斯拉夫斯基《第三交響曲》音色、音響結(jié)構(gòu)[D];上海音樂(lè)學(xué)院;2010年

2 樊倩;利蓋蒂《鋼琴練習(xí)曲》第二冊(cè)節(jié)奏分析[D];上海音樂(lè)學(xué)院;2012年

3 陳淼;管弦樂(lè)《阿里風(fēng)韻》等五部（首）學(xué)位作品及創(chuàng)作札記[D];西藏大學(xué);2013年

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本文編號(hào)：1990203