發(fā)布時(shí)間：2018-04-29 21:20

  本文選題：歇爾西 + 單一音　； 參考：《中央音樂學(xué)院》2003年博士論文

【摘要】： 賈欽多·歇爾西(Giacinto Scelsi 1905-1988)是20世紀(jì)意大利具有國際影響的現(xiàn)代音樂作曲家。他首創(chuàng)的“單一音”技法，使他被譽(yù)為是“二十世紀(jì)最有創(chuàng)造力的作曲家之一”。 歇爾西的“單一音”是一種既區(qū)別于“音色旋律”，又不同于簡約主義(minimalism)和“微復(fù)調(diào)”(micropolyphony)的音樂觀念。它的特點(diǎn)是以“單一音符”的微分音化為主，并在各種從屬支架結(jié)構(gòu)中層層鋪展開來；他的作品不僅具有很深刻的內(nèi)涵(哲學(xué)、宗教等方面)，而且還具有豐富的變化和戲劇性張力。在情感色彩上，他的音樂還具有強(qiáng)烈的悲劇性。在形式上打破了20世紀(jì)現(xiàn)代主義音樂普遍具有的精巧寫作方式，而在內(nèi)容上更為自由而浪漫；同時(shí)又不同于偶然音樂的隨機(jī)方式，具有相對控制的內(nèi)聚力。 為了集中探討“單一音”，本文選取了歇爾西創(chuàng)作成熟期對“單一音”手法運(yùn)用的最典型的代表作之一：《ANAHIT／pour violon sol o et 18instruments》(女神／為小提琴獨(dú)奏與18件樂器)(1965)作為切入點(diǎn)，分析他在創(chuàng)作中的技術(shù)手法與風(fēng)格特征，作為學(xué)習(xí)，并結(jié)合筆者本人創(chuàng)作實(shí)踐進(jìn)行參照思考，以期對“單一音”的經(jīng)驗(yàn)有更多深入的理解，并試圖探尋其創(chuàng)新價(jià)值和對我們創(chuàng)作的啟發(fā)。 論文在第一章中首先以歇爾西一生創(chuàng)作的四個(gè)時(shí)期：初始階段、探索階段、成熟階段、回歸階段，概要地介紹他生平的基本情況以及相關(guān)的歷史文化背景與創(chuàng)作的總體特點(diǎn)。 在第二章中，文章重點(diǎn)從“單一音”形態(tài)所包含的三種技法思維: 單一音符、單一音調(diào)和單一音響，以及作品的旋律形態(tài)、和聲形態(tài)、節(jié) 奏形態(tài)、結(jié)構(gòu)形態(tài)和音色技法等多個(gè)不同的角度對歇爾西的《ANAHIT》 進(jìn)行較詳盡的技術(shù)分析。 在第三章中，文章選取了與“單一音”思維接近或相似的幾位20世 紀(jì)作曲家的某些作品進(jìn)行了簡要的比較分析，同時(shí)還以本文作者的作品: 《第一狂想詩-一為阿仇山的記憶》和交響詩篇《土樓回響》為例，，在運(yùn) 用我本人所設(shè)想的“單細(xì)胞”生成原則的初步實(shí)踐中，對與歇爾西“單 一音”觀念的異同關(guān)系所做的一些思考。 文章最后的結(jié)語歸納了“單一音”的創(chuàng)作特征及可能對我們創(chuàng)作實(shí) 踐帶來的啟示，并指出了歇爾西“單一音”技法的內(nèi)涵:以最小的材料 形式，負(fù)載極深層的思想、情感內(nèi)涵與技術(shù)信息內(nèi)涵，并圍繞凈化的材 料進(jìn)行精密的技術(shù)處理，積極攀登藝術(shù)創(chuàng)作的至高境界。
[Abstract]:Giacinto Scelsi (1905-1988) is a modern music composer with international influence in 20 ~ (th) century in Italy. His monophonic technique made him known as one of the most creative composers of the twentieth century. Schulci's "single tone" is a musical concept which is not only different from "timbre melody", but also different from minimalism and micropolyphonym. It is characterized by the "single note" of the differential tone of the main, and in all kinds of subordinate support structure spread out layer by layer; his work not only has a very deep connotation (philosophy, Religion and so on, but also has rich changes and dramatic tension. In emotional color, his music also has a strong tragic. In form, it breaks down the exquisite writing style of modernist music in the 20th century, and it is more free and romantic in content. At the same time, it is different from the random way of accidental music and has relatively controlled cohesion. In order to focus on "single tone", this paper selects one of the most typical masterpieces of "single tone" in the mature period of Schulci's creation: < ANAHIT/pour violon sol o et 18instruments > (goddess / violin soloist and 18 musical instruments) as the starting point. This paper analyzes his technical techniques and style characteristics in his creation, as a study, and combines with the author's own creative practice to make reference and thinking, in order to have a deeper understanding of the experience of "monosyllabic". And try to explore its innovative value and inspiration to our creation. In the first chapter, the author firstly introduces the four periods of his life: initial stage, exploration stage, mature stage, return stage, and introduces briefly the basic situation of his life, the relevant historical and cultural background and the general characteristics of his creation. In the second chapter, the thesis focuses on the three kinds of technical thinking included in the form of "single tone": A single note, a single tone and a single sound, as well as the melodic form, harmony form, and section of the work. Playing form, structural form and timbre technique, etc., on Schulci's (ANAHIT) from different angles. Carry out more detailed technical analysis. In the third chapter, the article selects several 20 generations who are close to or similar to "monosyllabic" thinking. A brief comparative analysis of some of the works of the composer of the 20th century has been carried out, as well as a brief analysis of the works of the author of this paper: "the first Mystery Poems-one is the memory of Achiu Shan" and the symphonic Psalm "the reverberation of the Earth Tower" as an example, In the preliminary practice of the principle of "single cell" generation, which I have envisioned, I have made a comparison with the "single cell" principle of "single cell". Some reflections on the similarities and differences in the concept of "one-syllable". The final conclusion of the article summarizes the characteristics of the creation of "monosyllabic" and the possibility of creating reality for us. The enlightenment brought by practice, and the connotation of "monosyllabic" technique of Schulci: with the smallest material. Form, load extremely deep thought, emotion connotation and technical information intension, and revolve around the material of purification Material for precision technical processing, actively climb the highest level of artistic creation.
【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2003
【分類號】：J614.5

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前2條

1 許揚(yáng)寧;許�；莠F(xiàn)代風(fēng)格室內(nèi)樂作品研究[D];南京藝術(shù)學(xué)院;2010年

2 朱琳;對珀·紐加德1960年代末至1970年代中期“層次化結(jié)構(gòu)”技術(shù)的探究[D];上海音樂學(xué)院;2010年

相關(guān)碩士學(xué)位論文 前2條

1 汪戀昕;大提琴協(xié)奏曲《黎明》作曲技法初探[D];上海音樂學(xué)院;2010年

2 傅文;“主要音”在尹伊桑室內(nèi)樂中的運(yùn)用[D];上海音樂學(xué)院;2012年

本文編號：1821583