【摘要】：本文對(duì)二十世紀(jì)匈牙利著名作曲家?guī)焖说囊魳穭?chuàng)作及其觀念進(jìn)行了研究。具體內(nèi)容分為上篇、中篇和下篇三個(gè)部分。 上篇對(duì)庫(kù)塔克的音樂創(chuàng)作觀念進(jìn)行了闡述,涉及匈牙利的傳統(tǒng)文化,西方先鋒派音樂,西方傳統(tǒng)音樂及其它文化現(xiàn)象。在二十世紀(jì)音樂眾多風(fēng)格流派并存、發(fā)展、交織、沖突和發(fā)源的格局下,庫(kù)塔克表現(xiàn)了一種面對(duì)現(xiàn)代意識(shí)與傳統(tǒng)觀念的理智和成熟,一種海納百川的胸襟,他廣博于文學(xué)、語言學(xué)、心理學(xué)等知識(shí)領(lǐng)域,他的創(chuàng)作觀念匯聚和濃縮了各種音樂和多元文化的內(nèi)涵。 在中篇里,本文從承載庫(kù)塔克音樂思想總體的創(chuàng)作技術(shù)及其具體細(xì)節(jié)入手,對(duì)他不同時(shí)期的主要作品進(jìn)行了詳細(xì)的分析。庫(kù)塔克第一階段的音樂創(chuàng)作具有轉(zhuǎn)型與重構(gòu)的特征。第二階段反映了他的音樂創(chuàng)作對(duì)聲樂形式的傾向性。庫(kù)塔克對(duì)文學(xué)投入了極大的熱情,他將音樂與歌詞文本融合為一種簡(jiǎn)潔的、充滿表現(xiàn)力和具有個(gè)性的語言。庫(kù)塔克第三階段的音樂創(chuàng)作呈現(xiàn)出多元的格局,他逐漸走出了面對(duì)大型樂隊(duì)的困惑,并將簡(jiǎn)潔與表現(xiàn)力運(yùn)用于大型器樂作品的創(chuàng)作。這一時(shí)期也生產(chǎn)了一些他重要的聲樂作品。 本文在下篇對(duì)庫(kù)塔克音樂創(chuàng)作的主要特征進(jìn)行了歸納。涉及他的“微觀世界”,對(duì)音樂與文學(xué)的關(guān)系處理,節(jié)奏之形與人智論韻律運(yùn)動(dòng)學(xué)說的應(yīng)用等。本文作者還從庫(kù)塔克的編號(hào)和無編號(hào)作品出發(fā),提出了一些值得思考的問題。
[Abstract]:This paper studies the musical creation and concept of the famous Hungarian composer Kutark in the 20 ~ (th) century. The specific content is divided into three parts: the first part, the middle part and the second part. In the first part, the author expounds Kutuk's conception of music creation, including Hungarian traditional culture, western avant-garde music, western traditional music and other cultural phenomena. Under the pattern of coexistence, development, interweaving, conflict and origin of many styles of music in the 20th century, Kutuk showed a sense and maturity in the face of modern consciousness and traditional concepts, a mind that contains all kinds of rivers in the sea, and he is extensive in literature. In the fields of linguistics, psychology and other fields of knowledge, his creative ideas converge and condense various musical and multicultural connotations. In the second part, the author analyzes his main works in different periods from the point of view of the overall creative techniques and the specific details of his musical thoughts. The first stage of Kutuk's music creation is characterized by transformation and reconstruction. The second stage reflects the tendency of his music creation to vocal music form. Kutuk devoted great enthusiasm to literature, combining music and lyrics into a concise, expressive and individualized language. In the third stage of Kutuk's music creation, he gradually emerged from the confusion of the large band and applied simplicity and expressiveness to the creation of large-scale instrumental music works. This period also produced some of his important vocal works. This paper summarizes the main features of Kutuk's music creation in the second part. It involves his "microcosm", the relationship between music and literature, the application of rhythmic form and theory of rhythmic movement. The author also puts forward some questions worth pondering from the numbering and unnumbered works of Kutuk.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2004
【分類號(hào)】：J605

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本文編號(hào)：2183036