本文選題：米約 + 循環(huán)性　； 參考：《西南大學(xué)》2011年碩士論文

【摘要】：法國二十世紀(jì)繼德彪西之后最偉大的作曲家之一,“六人團(tuán)”的核心成員達(dá)律斯·米約在近六十年的創(chuàng)作生涯中,為世人留下了443部作品。在他漫長的一生中,對他的生活與創(chuàng)作產(chǎn)生重要影響的應(yīng)該是法國、巴西和美國這三個(gè)地方,而且米約是先后主要在法國—巴西—法國—美國—法國以循環(huán)的形式度過他的一生的,所以將其稱為“循環(huán)性”的人生歷程。對于米約的音樂作品也可謂良莠不齊,但是他的作品總會在不同的程度上體現(xiàn)出“傳統(tǒng)性”、“現(xiàn)代性”和“異域性”的結(jié)合,更多的是以其中一種因素為主,同時(shí)又伴有另一種或兩種因素的一種“兼容性”的音樂風(fēng)格。 在米約眾多的音樂作品中,雙鋼琴組曲《丑角》稱得上是雙鋼琴這種體裁的典范之作。這首組曲的三個(gè)樂章總共運(yùn)用了八個(gè)音調(diào)清晰、節(jié)奏分明的主題旋律,有的主題旋律還是以單聲部的織體形式來呈示的,主題以單聲部的形式來呈示不僅強(qiáng)化了主題的旋律性,而且也表明旋律是作品中重要的表現(xiàn)手段之一。另外,就總體而言,組曲《丑角》的宏觀結(jié)構(gòu)是清晰、明確的,功能性的和聲進(jìn)行也隨處可見。但是,這并不能說米約在創(chuàng)作這首作品時(shí)使用的手法過于保守,因?yàn)樵谧髌分幸泊罅渴褂昧硕取⑺亩群臀宥冗@些二十世紀(jì)的多樣化的和弦結(jié)構(gòu)手法和連續(xù)的四六和弦、連續(xù)的七和弦的和聲進(jìn)行以及復(fù)合和弦等前衛(wèi)而又豐富的和聲手法。作為套曲,《丑角》在調(diào)性布局上也表現(xiàn)出一定的自由性,三個(gè)樂章的主調(diào)分別是C大調(diào)、bB大調(diào)和F大調(diào),與傳統(tǒng)的大多數(shù)套曲不同,組曲的末樂章沒有再現(xiàn)第一樂章的主調(diào)而是以開放的形式結(jié)束在下屬大調(diào)。從對曲式結(jié)構(gòu)的細(xì)部處理也能看出米約在作曲手法上的創(chuàng)意,與傳統(tǒng)的手法不同,米約在處理各樂章的復(fù)三部曲式時(shí),在復(fù)三的第一部分與三聲中部之間都使用了連接,這樣則削弱了兩者間的對比,而不是使兩者處于并置對比的狀態(tài),象這樣使創(chuàng)作趨于自由化的手法在作品中還有很多。組曲的第三樂章是一首巴西風(fēng)格的桑巴舞。 實(shí)際上,在組曲《丑角》中,米約音樂風(fēng)格的“傳統(tǒng)性”、“現(xiàn)代性”和“異域性”三因素也表現(xiàn)得非常鮮明,也可以說組曲《丑角》的音樂風(fēng)格是這三種因素的“兼容”。
[Abstract]:After Debussy, one of France's greatest composers in the 20th century, Darius Miyo, a core member of the Six-member, has left 443 works for the world in his nearly sixty years of creative life. During his long life, it was France, Brazil and the United States that had an important impact on his life and creation. And Miyo has mainly spent his life in France-Brazil-France-America-France in the form of cycle, so it is called "cycle" of life process. Miyo's musical works can be described as mixed, but his works always reflect the combination of "tradition", "modernity" and "heterogeneity" to varying degrees, and most of them are based on one of the factors. A "compatible" style of music accompanied by another factor or two. Among Miyo's many musical works, the double Piano Suite (clown) is a model of the double Piano genre. In all, the three movements of the suite use eight clear, rhythmic thematic melodies, some of which are presented in the form of monophonic textures, which not only reinforce the melody of the theme, but also the monophonic form. It also shows that melody is one of the important means of expression in the works. In addition, overall, the macro-structure of Suite "clown" is clear, clear, functional harmony is also everywhere. But this is not to say that Miyo was too conservative in his work, because he also used a lot of two-, four- and five-degree two-, four- and five-degree two- century chord structures and a series of four or six chords. Successive harmonies of seven chords and complex chords and other avant-garde and rich harmony techniques. As an ensemble, the clown also shows a certain degree of freedom in its tonality layout. The main tones of the three movements are C major B B major and F major, which is different from most traditional routines. The final movement of the suite does not reproduce the main tone of the first movement but ends in subordinate major in an open form. From the detailed treatment of the composition structure, we can also see that Miyo's originality in composing techniques is different from the traditional method. When Miyo deals with the complex trilogy of each movement, he uses a connection between the first part of the composition and the middle part of the triple sound. This weakens the contrast between the two, rather than putting them in a state of juxtaposition, and there are still many ways to liberalize the creation. The third movement of the suite is a Brazilian-style samba. In fact, the "tradition", "modernity" and "heterogeneity" of Miyo's musical style are also very distinct in Suite "clown", and it can be said that the musical style of Suite "clown" is the "compatibility" of these three factors.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J614

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