本文選題：拱形結(jié)構(gòu) + 結(jié)構(gòu)形態(tài)��； 參考：《上海音樂學(xué)院》2004年博士論文

【摘要】：拱形結(jié)構(gòu)是一種歷經(jīng)幾個世紀(jì)發(fā)展演化的音樂結(jié)構(gòu)形態(tài)，在二十世紀(jì)被大量地運(yùn)用，并且作曲家將這一原則引申為一種思維運(yùn)用于各種作曲技法之中，從而成為現(xiàn)代作品的一種典型結(jié)構(gòu)。 本文正文分上、下兩篇共五個章節(jié)。 上篇“對拱形結(jié)構(gòu)形態(tài)及演變的分析”共有三章，主要論述拱形結(jié)構(gòu)在各種體裁音樂作品以及各歷史時期的體現(xiàn)形態(tài)。第一章“拱形結(jié)構(gòu)概念的界定”，，是本文論述的基礎(chǔ)，針對“拱”一詞來源于建筑學(xué)這一情況，從建筑學(xué)上“拱”的結(jié)構(gòu)和力學(xué)原理的分析入手，對拱形結(jié)構(gòu)以及拱形原則、拱形曲式等相關(guān)概念作出本文的界定。第二章“拱形結(jié)構(gòu)原則的運(yùn)用”，是本文對拱形結(jié)構(gòu)體現(xiàn)形式分析的主體部分，在對古今中外近百部作品結(jié)構(gòu)分析的基礎(chǔ)上，分別論述了：拱形結(jié)構(gòu)原則的集中體現(xiàn)形式——拱形曲式的主要結(jié)構(gòu)形式和結(jié)構(gòu)特點(diǎn)；拱形結(jié)構(gòu)原則在各種大型曲式中的運(yùn)用狀況；拱形結(jié)構(gòu)作為一種“思維方式”，滲透到諸音樂要素的組織手法之中所體現(xiàn)出的主要形態(tài)。第三章“拱形結(jié)構(gòu)的演變”，將這一結(jié)構(gòu)原則置入音樂發(fā)展歷史之中，對拱形原則運(yùn)用和發(fā)展的環(huán)節(jié)、過程予以梳理，總結(jié)其發(fā)展演化的軌跡。 下篇“對拱形結(jié)構(gòu)形態(tài)及演變的思考”共有兩章(即正文的第四、第五章)。音樂材料的性質(zhì)和發(fā)展技術(shù)手段是決定結(jié)構(gòu)形式的重要因素，音樂材料和技術(shù)手段改變，形式亦隨之改變；從曲式內(nèi)部結(jié)構(gòu)的有序性逐漸加強(qiáng)這一發(fā)展態(tài)勢來看，反映了歷代作曲家對音樂結(jié)構(gòu)有序性的認(rèn)識不斷加深的過程；所以，第四章分別從材料因素和結(jié)構(gòu)因素兩方面論述了拱形結(jié)構(gòu)形態(tài)及演化的“音樂本體因素”。 第五章首先根據(jù)格式塔心理完形理論，提出“音樂結(jié)構(gòu)原則是心理完形的體現(xiàn)”，在此基礎(chǔ)上，論述了拱形結(jié)構(gòu)與審美心理平衡發(fā)展的關(guān)系；又從音樂記憶的角度，闡明拱形結(jié)構(gòu)作為音樂組織的排列思維，對作品整體結(jié)構(gòu)起到高度平衡統(tǒng)一的作用，而作為音樂細(xì)胞的排列思維，則在某種程度上迎合了二十世紀(jì)的音樂創(chuàng)作和審美觀念而得到現(xiàn)代作曲家的青睞。 本文通過以上分析、研究、考察、論述，試圖對拱形結(jié)構(gòu)——這一二十世紀(jì)典型結(jié)構(gòu)形式和結(jié)構(gòu)思維進(jìn)行較為全面的研究，以期對其所呈現(xiàn)出的音樂結(jié)構(gòu)(或思維)之“源”、“流”、“變”諸形態(tài)之間存在的內(nèi)在關(guān)系作較為深入的探討；同時，也衷心希望本文的寫作能為音樂結(jié)構(gòu)學(xué)研究提供新的視角，使音樂學(xué)家們對音樂形態(tài)與審美心理之間的互動關(guān)系引起關(guān)注。
[Abstract]:The arched structure is a musical structure which has evolved over the centuries and has been widely used in the twentieth century, and the composer has extended this principle to a kind of thinking applied to all kinds of composing techniques. Thus it becomes a typical structure of modern works. The text of this paper is divided into five chapters. There are three chapters in the first part, "Analysis of the shape and Evolution of Arch structure", which mainly discusses the embodiment of Arch structure in various genres of music works and in different historical periods. The first chapter, "the definition of the concept of arch structure", is the basis of this paper. In view of the fact that the word "arch" comes from architecture, the author begins with the analysis of the structure and mechanics principle of "arch" in architecture, and analyzes the structure of arch structure and the principle of arch form. The related concepts such as arch form are defined in this paper. The second chapter, "Application of Arch structure principle", is the main part of the analysis of arched structure, which is based on the analysis of nearly 100 works in ancient, modern and modern times. The paper discusses the main structural forms and structural characteristics of the arched structure principle, the application of the arch structure principle in all kinds of large-scale forms, the arch structure as a "mode of thinking", Permeate into the organization of the elements of music reflected in the main forms. The third chapter, "the evolution of arch structure", puts this structure principle into the history of music development, combs the process of the application and development of the arch principle, and sums up the track of its development and evolution. There are two chapters in the second part, "thinking on the shape and Evolution of Arch structure" (the fourth and fifth chapters of the text). The nature of musical materials and the development of technical means are the important factors that determine the structural form, and the musical materials and technical means change, and the form also changes with it; from the perspective of the gradual strengthening of the order of the internal structure of the musical form, Therefore, the fourth chapter discusses the "musical Noumenon factors" of the arched structure form and evolution from the material factor and the structural factor respectively. In the fifth chapter, according to gestalt mental gestalt theory, the author puts forward that "the principle of music structure is the embodiment of mental gestalt", and on this basis, discusses the relationship between arch structure and the balanced development of aesthetic psychology, and from the perspective of music memory, It is expounded that the arched structure, as the arrangement thought of music organization, plays a highly balanced and unified role in the overall structure of the work, while as the arrangement thinking of the music cell, To some extent, it caters to the musical creation and aesthetic concept of the 20th century and is favored by modern composers. Through the above analysis, research, investigation and discussion, this paper attempts to make a more comprehensive study on the arched structure, which is the typical structural form and structural thinking of the 20th century, in order to study the "source" of its musical structure (or thinking). At the same time, I sincerely hope that the writing of this paper can provide a new perspective for the study of music structure. So that musicologists pay attention to the interaction between music form and aesthetic psychology.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2004
【分類號】：J614

【引證文獻(xiàn)】

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1 李坤;阿拉騰奧勒《第一交響曲》創(chuàng)作技法及風(fēng)格特征研究[D];內(nèi)蒙古大學(xué);2011年

本文編號：1801910