本文選題：沃爾特·辟斯頓　切入點(diǎn)：弦樂四重奏　出處：《中央音樂學(xué)院》2017年博士論文　論文類型：學(xué)位論文

【摘要】：沃爾特·辟斯頓(Walter Piston,1894—1976)是美國20世紀(jì)最為重要的新古典主義作曲家、音樂理論家和音樂教育家。五部弦樂四重奏是除了其八部交響樂之外最引人注目的作品,這五部作品橫跨了辟斯頓創(chuàng)作的三個(gè)時(shí)期,幾乎濃縮并概括了辟斯頓各個(gè)時(shí)期的主要和聲技法特征。本文擬從橫向與縱向兩條線索架構(gòu)整個(gè)行文的脈絡(luò)。橫向線索包括第二章和第三章。第二章論述了五部作品中所涉及到的傳統(tǒng)五聲音階與七聲音階、人工音階的各種類型;第三章論述的“橫向聲部的主題發(fā)展手法”包含了辟斯頓的旋律寫作特征、主題展衍模式下的音程化特征等內(nèi)容。第四章“綜合調(diào)式及12音擴(kuò)展的極限”是橫向線索與縱向線索之間的交叉部分,筆者從國外和國內(nèi)相關(guān)的“綜合調(diào)式”理論入手,引申出辟斯頓獨(dú)具個(gè)人特色并區(qū)別于其它“綜合調(diào)性”理論的“傳統(tǒng)音階與人工音階之間相互綜合的半音體系”。這一章既包括并整合了第二章與第三章所論述的內(nèi)容,也為第五章“綜合調(diào)式半音體系下的和聲語言”和第六章“對(duì)位化寫作原則下的和音形態(tài)及其連接”的縱向線索提供了理論支撐。在第七章中,單獨(dú)論述了《第五弦樂四重奏》第Ⅱ樂章的“12音調(diào)性序列及其和聲語言特征”,之所以將其單獨(dú)列為一章,是由于這是辟斯頓五部弦樂四重奏中,唯一通篇使用序列技法的樂章,并且這一樂章還體現(xiàn)了辟斯頓晚期作品中既堅(jiān)守調(diào)性原則,又不斷探索現(xiàn)代化和聲語匯的進(jìn)取精神。
[Abstract]:Walter Pistonn (1894-1976) was the most important Neo-classical composer, music theorist and music educator in 20th century. Five string quartets were the most striking works besides his eight symphonies. These five works span the three periods of his creation. The author almost condenses and generalizes the main features of harmony techniques in various periods of Deston. This paper intends to construct the whole context of the text from two clues, horizontal and vertical. The horizontal clue consists of chapters two and three. Chapter two deals with five parts. The traditional pentatonic and seven-tone scales involved in the work, Various types of artificial scales. Chapter three discusses the theme development techniques of transverse parts, which include the characteristics of Beiston's melodic writing. Chapter 4th, "the limits of Synthetical Modulation and 12-tone expansion", is the intersection between horizontal and vertical cues. The author starts with the relevant theories of "Synthetical Modular" both at home and abroad. This chapter is derived from the semitone system of traditional scale and artificial scale, which has individual characteristics and is different from other "comprehensive tonality" theories. This chapter includes and integrates the contents discussed in chapters two and three. It also provides theoretical support for the longitudinal clues of 5th chapters "Harmony language under the Integrated Modular system" and 6th "Harmony patterns and their connections under the principle of Paradisonal Writing". In Chapter 7th, The "12-tone sequence and its harmonic language characteristics" of "5th string quartet" is discussed separately, because it is the only one of the five string quartets in which the sequence technique is used. And this movement also embodies the spirit of keeping to the principle of tonality and exploring the modern harmony vocabulary in his later works.
【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類號(hào)】：J614.1
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本文編號(hào)：1642723