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  本文關鍵詞：芬尼豪〈第二弦樂四重奏〉及其結構思維　出處：《上海音樂學院》2012年碩士論文　論文類型：學位論文

  更多相關文章： 新復雜派 布萊恩·芬尼豪 弦樂四重奏 音樂參數

【摘要】：本文選取新復雜派代表人物芬尼豪的作品《第二弦樂四重奏(Second String Quartet)》為分析主體,通過對作品音樂參數的自身結構和相互作用的分析,探求該作品的音樂寫作技法和結構觀念。 第一章為背景資料準備,包括新復雜派的的起源于發(fā)展、芬尼豪的寫作觀念和主要作品、國內外的研究現狀等。 第二章從織體形態(tài)、聲部對峙方式、靜默材料的呈示與變形等方面,羅列、分析了樂曲各階段的形態(tài)和發(fā)展,從而劃分出《第二弦樂四重奏》的樂段布局。 第三章將樂曲中所有的音響材料分為靜默材料和有聲材料兩類分別論述：靜默材料以休止為初級狀態(tài),在發(fā)展中逐漸呈示出次級和高級的變形;有聲材料分為主要材料和次要材料,他們實際是一種以節(jié)奏參數為骨架,以其他音樂參數填充的織體形式。 第四章以作曲家給出的原生音高序列提示為基礎,將原生音高序列派生、細化為序列材料系統(tǒng),綜合樂曲中的實例,論述了該曲中音高材料多向、交錯的呈示方式。 第五章分別分析速度和表情兩個參數,并根據各自的發(fā)展階段歸類分段。綜合比較兩個參數相互對峙和呼應的方式,在分段形態(tài)上呈中心對稱。 本文的論述方法主要運用了將音樂參數分別量化、分層分步統(tǒng)計、最終列表歸納等分析方法,并且借鑒了十二音音級集合分析方法的若干理念,通過一系列的比對和提煉,最終得出以下結論：該曲在音樂層面的結構特點即整體結構是各個音樂參數間同向或相向運動的綜合結果,其中以節(jié)奏參數為主導；又從哲學層面的核心思維考慮：復雜的譜面和邏輯關系,其實質為單純的“辯證思維”表達。
[Abstract]:This paper selects the works of "second String Quartet" by Finnejo, a representative figure of the New complex School, as the main body of the analysis. Based on the analysis of the structure and interaction of the music parameters of the work, this paper explores the musical writing techniques and the concept of the structure of the work. The first chapter is the preparation of background information, including the origin of the new complex school in the development, Finniott's writing ideas and main works, the domestic and foreign research situation and so on. In the second chapter, the structure of texture, the way of voice confrontation, the presentation and deformation of silent materials are listed, and the shape and development of each stage of the music are analyzed, and the arrangement of the music section of the second string Quartet is divided. In the third chapter, all the sound materials in the music are divided into silent materials and acoustic materials. The silent materials take the rest as the primary state, and gradually show secondary and advanced deformation in the development; Acoustic materials are divided into main materials and secondary materials. They are actually a texture with rhythmic parameters as the skeleton and other musical parameters filled. The 4th chapter is based on the original pitch sequence hint given by the composer. The primary pitch sequence is derived and refined into a sequential material system. The multi-directional pitch material in the music is discussed by synthesizing the examples of the music. A staggered presentation. Chapter 5th analyzes the two parameters of speed and expression, and classifies them into segments according to their respective stages of development, and synthetically compares the ways in which the two parameters are confronted with each other and echoes each other. The discussion method of this paper mainly uses the analysis methods of quantifying the music parameters separately, stratified step statistics, final list induction and so on, and draws lessons from some ideas of the 12 tone level set analysis method. Through a series of comparisons and refinements, the following conclusions are drawn: the structure of the music is the synthesis result of the same or opposite movement among the various musical parameters, and the rhythm parameter is the dominant factor; The essence of the complex spectrum and logic relation is a pure dialectical thought.
【學位授予單位】：上海音樂學院
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：J605

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相關碩士學位論文 前2條

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2 李末;20世紀奏鳴曲式結構原則的變異[D];上海音樂學院;2010年

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本文編號：1357113