本文關(guān)鍵詞： 趙曉生 作曲 太極作曲系統(tǒng)　出處：《華中師范大學(xué)》2012年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：趙曉生先生在新中國(guó)作曲的發(fā)展歷程中有著舉足輕重的地位,他是中國(guó)音樂(lè)發(fā)展史上,有著十分重要影響力的教育家、鋼琴家、作曲家,“太極作曲系統(tǒng)”便是他創(chuàng)立的。其中包涵了三個(gè)大方面,分別是：“合力論”“音集論”“太極論”。趙曉生在中國(guó)音樂(lè)界的地位是很高的,其音樂(lè)才華也是大家有目共睹的,他為推動(dòng)中國(guó)音樂(lè)的發(fā)展一直不斷地努力著。不過(guò),剔除趙曉生先生自己書(shū)寫(xiě)的理論書(shū)籍、評(píng)論、文章不算,國(guó)內(nèi)外在對(duì)趙曉生先生的音樂(lè)研究之中,以他的“太極作曲系統(tǒng)”為主要理論對(duì)象進(jìn)行仔細(xì)研究的文章卻并不多見(jiàn),現(xiàn)有資料之中,大家的主要研究對(duì)象側(cè)重于他在鋼琴藝術(shù)領(lǐng)域、鋼琴演奏技巧以及傳統(tǒng)作曲手法等方面。 本文主要是將趙曉生的整個(gè)太極系統(tǒng)按“合力論”、“音集論”、“太極論”分為三編分別進(jìn)行分析�！昂狭φ摗笔翘珮O論與音集論的理論基礎(chǔ),是對(duì)從20世紀(jì)以來(lái)的音樂(lè)的一個(gè)總的概況與整個(gè)系統(tǒng)延伸而來(lái)的作曲技術(shù)理論的出發(fā)點(diǎn)�！耙艏摗笔菗碛凶顝V泛的適用性的音高組織理論框架,也是整個(gè)太極系統(tǒng)的技法理論基礎(chǔ),對(duì)“音集”的構(gòu)、體、數(shù)、質(zhì)、位、態(tài)、核、相、易等核心概念作了詳細(xì)分析。“太極論”是音集論之中的一個(gè)特例,它是“音集運(yùn)動(dòng)”的一個(gè)特殊的發(fā)展形態(tài),它以六十四卦為基礎(chǔ)的一種別樣的作曲系統(tǒng)。通過(guò)這一特例我們得到了證明：從中國(guó)古代的哲學(xué)系統(tǒng)作為出發(fā)點(diǎn),是可以創(chuàng)造出許許多多極具中華文化內(nèi)涵特色的音樂(lè)形式來(lái)的。
[Abstract]:Mr. Zhao Xiaosheng played an important role in the development of music composition in New China. He was an educator and pianist with great influence in the history of Chinese music development. Composer, "Taiji composing system" was founded by him. It contains three major aspects: "the theory of resultant force", "the theory of sound collection", "the theory of Taiji". Zhao Xiaosheng's position in the Chinese music world is very high, and his musical talent is obvious to all. He has been working hard to promote the development of Chinese music. However, excluding the theoretical books, commentaries, and articles written by Mr. Zhao Xiaosheng himself, he does not count, both at home and abroad, in the music research of Mr. Zhao Xiaosheng. However, few articles have been carefully studied with his "Taiji composition system" as the main theoretical object. Among the existing materials, the main objects of study are focused on his work in the field of piano art. Piano playing skills and traditional composition techniques and so on. In this paper, the whole Taiji system of Zhao Xiaosheng is divided into three parts according to "resultant force theory", "phonetic set theory" and "Taiji theory". "resultant force theory" is the theoretical basis of Taiji theory and phonetic set theory. It is the starting point of a general overview of music since 20th century and the whole system extension of the theory of composition technology. "phonetic set theory" is the most widely applicable theoretical framework of pitch organization. It is also the technical theoretical basis of the whole Taiji system. It makes a detailed analysis of the core concepts such as the construction, aspect, number, quality, position, state, core, phase and change of the "phonetic set". "Taiji Theory" is a special case in the phonetic set theory. It is a special form of development of "Yin Ji Movement", and it is based on the 64 hexagram as a different composition system. Through this special case, we have been proved: from the philosophical system of ancient China as the starting point, Can create a lot of Chinese cultural connotations of music form.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：J614

【引證文獻(xiàn)】

中國(guó)碩士學(xué)位論文全文數(shù)據(jù)庫(kù) 前1條

1 馬千越;解析趙曉生太極作曲系統(tǒng)對(duì)音高材料的控制[D];西安音樂(lè)學(xué)院;2013年

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本文編號(hào)：1551402