本文選題：先鋒派音樂 + 不確定性特征　； 參考：《清華大學(xué)》2004年碩士論文

【摘要】：西方先鋒派音樂在20世紀(jì)音樂史上留下了色彩繽紛的印跡。本文研究的先鋒派音樂是特指1945年前后產(chǎn)生的帶有實(shí)驗(yàn)特征的一系列音樂流派,并擇取這一時期音樂形態(tài)中的不確定性特征進(jìn)行美學(xué)研究。 本文結(jié)合先鋒派音樂的基本技法與形式,在美學(xué)層面進(jìn)行深入研究。首先對于音高、時值、曲式、物質(zhì)載體、演出手段等音樂要素結(jié)合音樂作品進(jìn)行分析,明確不確定性特征在先鋒派音樂中的實(shí)現(xiàn)。在此基礎(chǔ)上,結(jié)合先鋒派藝術(shù)、后現(xiàn)代主義文化、消費(fèi)文化等理論,挖掘西方先鋒派音樂不確定性創(chuàng)作手法的深層美學(xué)內(nèi)涵。 在傳統(tǒng)意義上,不確定性特征的音樂是不具備作品完整性、封閉性等形式規(guī)范的,但從其社會功能、創(chuàng)作訴求等角度深究,它是具備“藝術(shù)作品”性質(zhì)的。從最直接的審美感受來看,這類作品具有極端個人化的傾向,不易準(zhǔn)確概括出該類作品給人帶來的直觀感受,但是它們在審美上的不可預(yù)知性卻是唯一統(tǒng)一的特征。 對于這樣特殊的藝術(shù)創(chuàng)作,深究其創(chuàng)作理念的形成,除了受到二次世界大戰(zhàn)的深遠(yuǎn)影響,西方音樂觀念以及現(xiàn)代人文思潮也促使它不斷嘗試擺脫傳統(tǒng)理性的束縛,走出一條反理性的道路,努力創(chuàng)造一個新的音樂格局。同時,橫向?qū)φ胀瑫r期的其它各個藝術(shù)門類,不確定性特征不僅僅存在于音樂領(lǐng)域,更加廣泛的流行于視覺藝術(shù)等范疇內(nèi),并且這些藝術(shù)互相滲透,互相影響,由此證明此特征在先鋒派藝術(shù)中是具有普遍意義和研究價值。 本論文的創(chuàng)新之處,除了結(jié)合具體音樂作品的形式技法來研究美學(xué)內(nèi)涵,在對于不確定性特征的社會文化評價上,不同于一般文獻(xiàn)簡單否定的態(tài)度,而是從機(jī)械復(fù)制等角度挖掘其內(nèi)在矛盾,并進(jìn)一步研究此類藝術(shù)的消亡原因,以及對后世影響等問題,用辯證的方法對不確定性美學(xué)特征的社會文化價值進(jìn)行了分析,并且積極地肯定了這一創(chuàng)作理念的存在意義。
[Abstract]:Western avant-garde music left a colourful imprint in the music history of the 20 th century. The avant-garde music studied in this paper refers to a series of musical schools with experimental characteristics produced before and after 1945, and chooses the uncertain characteristics of music form in this period for aesthetic study. Combined with the basic techniques and forms of avant-garde music, this paper makes an in-depth study on aesthetic level. First of all, the musical elements, such as pitch, time value, music form, material carrier, performance means and so on, are analyzed in combination with music works, and the realization of uncertainty in avant-garde music is clarified. On this basis, combined with the theory of avant-garde art, post-modernism culture and consumption culture, the author explores the deep aesthetic connotation of the creative techniques of western avant-garde music uncertainty. In the traditional sense, the music with uncertain features does not have the form of integrity and closeness, but it has the nature of "works of art" from the point of view of its social function and creative appeal. From the most direct aesthetic feeling, this kind of works has the tendency of extreme individualization, it is not easy to summarize the intuitionistic feeling that this kind of work brings to people accurately, but their unpredictability in the aesthetic is the only unified characteristic. In addition to the profound influence of World War II on the formation of such a special artistic creation, Western musical ideas and modern humanistic thoughts have also prompted it to continue to try to get rid of the shackles of traditional rationality. Walk out of an anti-rational road, and strive to create a new music pattern. At the same time, compared with other art categories of the same period, uncertainty features not only exist in the field of music, but also become more popular in the field of visual art, and these arts permeate each other and influence each other. This proves that this feature is of universal significance and research value in avant-garde art. The innovation of this paper, besides combining the formal techniques of specific musical works to study the aesthetic connotation, is different from the simple negative attitude of the general literature on the social and cultural evaluation of the uncertain characteristics. Instead, it excavates its internal contradictions from the angle of mechanical reproduction, and further studies the causes of the extinction of this kind of art and its influence on later generations, and analyzes the social and cultural value of the uncertain aesthetic characteristics with dialectical methods. And positively affirmed the existence significance of this creation idea.
【學(xué)位授予單位】：清華大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2004
【分類號】：J601

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 劉博;以約翰·凱奇為代表的先鋒音樂論[D];鄭州大學(xué);2011年

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本文編號：1985032