本文選題：陳銘志　切入點(diǎn)：復(fù)調(diào)　出處：《河南大學(xué)》2004年碩士論文　論文類型：學(xué)位論文

【摘要】： 陳銘志先生尤擅復(fù)調(diào)音樂的編織，在他創(chuàng)作的大量風(fēng)格獨(dú)特、頗具藝術(shù)魅力的音樂作品中，復(fù)調(diào)體裁占有相當(dāng)?shù)谋戎兀梢哉f這類作品也是他長(zhǎng)期從事復(fù)調(diào)音樂的研究、著述和教學(xué)工作中經(jīng)驗(yàn)積累的直接反映。 本文并未采取常用的研究思路，而是從作曲法的角度出發(fā)——即以音樂構(gòu)成的內(nèi)容為線索、以創(chuàng)作技法的運(yùn)用為切入點(diǎn)——將陳先生復(fù)調(diào)音樂創(chuàng)作的技術(shù)內(nèi)涵分別歸納在主題構(gòu)成、聲部組合與結(jié)構(gòu)組織中詳細(xì)論述，并在此基礎(chǔ)上進(jìn)一步探索陳銘志音樂作品中復(fù)調(diào)藝術(shù)的風(fēng)格和特色。 論文的主體共分為三章。 第一章：主題構(gòu)成。主要是從動(dòng)機(jī)的衍生方式和主題的結(jié)構(gòu)形式上入手，探討陳銘志復(fù)調(diào)音樂作品中主題的構(gòu)成，研究了他在長(zhǎng)期實(shí)踐中逐步形成的兩種規(guī)律性的主題創(chuàng)作手法：“動(dòng)機(jī)生成法”和“動(dòng)機(jī)轉(zhuǎn)移法”。 第二章：聲部組合。以“對(duì)置式”和“交換式”為研究框架，歸納、分析了陳銘志復(fù)調(diào)音樂作品中處理聲部組合的具體手段。本章不涉及一般性的手法，而是通過對(duì)陳先生喜而擅用的“固定低音式對(duì)置”、“調(diào)式調(diào)性對(duì)置”，以及“對(duì)稱性的交換”和“追逐性的交換”等技術(shù)手段的集中論述，體現(xiàn)出他在創(chuàng)作中處理聲部組合的靈活生動(dòng)與精巧細(xì)膩。 第三章：結(jié)構(gòu)組織。這是陳先生在創(chuàng)作中最注重的環(huán)節(jié)，亦為本文最重要的章節(jié)。陳銘志先生在樂曲結(jié)構(gòu)組織形式上的不懈探索及取得的成果，，不僅體現(xiàn)了他對(duì)音樂作品的形式美感與邏輯結(jié)構(gòu)力的高度重視，也反映出他那旺盛的藝術(shù)創(chuàng)造力。本章正是以此為寫作目的，列舉了一些極富創(chuàng)新精神的實(shí)例，并深入、細(xì)致地分析了它們的創(chuàng)作特色。 論文的最后，除了對(duì)陳銘志先生復(fù)調(diào)音樂創(chuàng)作的藝術(shù)風(fēng)格做了提綱式的總結(jié)外，還有就筆者在本論題的研究與寫作過程中獲得的啟示所談的幾點(diǎn)感想，希望能與讀者共同探討!
[Abstract]:Mr. Chen Mingzhi is especially good at weaving polyphonic music. In his numerous musical works of unique style and artistic charm, polyphonic genres account for a considerable proportion. It can be said that this kind of work is also a long-term study of polyphony music that he has been engaged in for a long time. Writing and teaching work in the experience of the accumulation of direct reflection. This article does not adopt the common research thought, but starts from the composing method angle-namely takes the music composition content as the clue, takes the creation technique application as the breakthrough point-sums up Mr. Chen polyphony music creation technical connotation separately in the theme constitution, The composition and structure of the voice are discussed in detail, and on this basis, the style and characteristics of polyphonic art in Chen Mingzhi's musical works are further explored. The main body of the thesis is divided into three chapters. Chapter one: theme composition. It mainly discusses the theme composition of Chen Mingzhi's polyphonic music works from the derivation of motivation and the structure of theme. In this paper, the author studies two kinds of regular motif in his long-term practice: motivation generation method and motivation transfer method. The second chapter: the combination of voice parts. Taking "contrastive" and "exchange" as the research framework, this paper summarizes and analyzes the specific means of dealing with the combination of vocal parts in Chen Mingzhi's polyphonic music works. This chapter does not involve general techniques. Instead, it focuses on "fixed bass", "modulation", "symmetry exchange" and "chasing exchange", which are preferred by Mr. Chen. It reflects his flexibility, vividness and delicacy in dealing with the composition of sound parts in his creation. Chapter III: structural organization. This is the most important link in Mr. Chen's creation, and also the most important chapter in this paper. Not only does he attach great importance to the aesthetic sense of form and the power of logical structure of his musical works, but also reflects his vigorous artistic creativity. Their creative characteristics are analyzed in detail. At the end of the thesis, in addition to the summary of the artistic style of Mr. Chen Mingzhi's polyphonic music creation, there are some thoughts about the enlightenment gained by the author in the course of the research and writing of this topic, hoping to discuss with the reader together!
【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】：2004
【分類號(hào)】：J614

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 伍潤(rùn)華;陳銘志《序曲與賦格曲集》研究[D];武漢音樂學(xué)院;2006年

本文編號(hào)：1593653