【摘要】：帕薩卡里亞,是一種巴羅克時期起源于西班牙的舞曲,一般為三拍子,小調(diào)式:8小節(jié)的固定低音主題依據(jù)復(fù)調(diào)變奏技術(shù)被不斷重復(fù)衍展,其多聲織體通過節(jié)奏、力度、音色、音區(qū)等各項參數(shù)的變化,以及對位、和聲、配器等手段的處理安排,獲得豐富的動力和發(fā)展。巴羅克后期,這一濫觴于17世紀(jì)初,在西、意、法、德等國廣泛流行100余年的固定低音復(fù)調(diào)變奏形式由巴赫等人發(fā)展至高峰。本文第一章對這種形式形成發(fā)展過程的回顧、陳述和思考,無疑為進行20世紀(jì)帕薩卡里亞研究提供了一個歷史的坐標(biāo)。 20世紀(jì)初,在功能和聲體系逐漸瓦解、復(fù)調(diào)音樂以新的形式復(fù)興的趨勢中,帕薩卡里亞藉表現(xiàn)主義、新古典主義音樂流派的推波助瀾而得以再生,并以其獨立的結(jié)構(gòu)性、橫向的高度衍展性、材料的集中統(tǒng)一性、織體的堅實性、音樂發(fā)展的連續(xù)性、以及特有的風(fēng)格韻致而得到現(xiàn)代作曲家的青睞,幾乎所有在20世紀(jì)音樂史冊上享有重要地位的作曲家,如勛伯格、威伯恩、貝爾格、興德米特、斯特拉文斯基、布里頓、拉威爾、肖斯塔科維奇、科普蘭、盧托斯拉夫斯基等人,均以這種形式創(chuàng)作了數(shù)目不等的作品。本文第二章即從這些20世紀(jì)最具代表性的不同流派作曲家的創(chuàng)作中選取了9部帕薩卡里亞作為研究對象,主要從作曲技術(shù)理論的角度,對它們逐一進行了比較全面系統(tǒng)而概括的分析研究;在第三章,又對20世
[Abstract]:Pasacaria, a kind of dance that originated in Spain during the Baroque period, usually has a triple beat. The fixed bass theme of the small tone of 8 bars is constantly repeated according to polyphonic variation technique, and its multi-tone texture is repeated through rhythm, intensity, and timbre. The changes of various parameters, as well as the arrangement of the corresponding, harmonic, and allocator, have gained abundant power and development. In the late period of Baroque, it originated in the beginning of the 17th century. In western countries, Italy, France, Germany and other countries, the form of fixed bass polyphonic variation, which was widely popular for more than 100 years, developed from Bach and others to its peak. The first chapter of this paper reviews, states and ponders the development process of this form. Undoubtedly, it provided a historical coordinate for the study of Pasakaria in the 20th century. At the beginning of the 20th century, the system of functional harmony gradually collapsed. In the trend of polyphonic music reviving in new forms, Pasacaria was regenerated by expressionism, neoclassical music schools, and its independent structure, horizontal development, centralization and unity of materials. The solidity of texture, the continuity of music development, and the unique style and rhyme of modern composers have attracted the favor of modern composers. Almost all the composers who played an important role in the history of music in the 20th century, such as Schoenberg, Wiborn, Berg, Xingdmitt, Stravinsky, Brighton, Ravel, Shostakovich, Copland, Lutoslavski, and others, all in this form to create a different number of works. In the second chapter, 9 pieces of Pasakaria are selected from the works of the most representative composers of different schools in the 20th century, mainly from the angle of the theory of composition technology. A more systematic and general analysis of them one by one; in chapter III, a review of the 20th century.
【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】：2000
【分類號】：J614

【引證文獻】

相關(guān)期刊論文 前1條

1 王雪燕;;簡論新古典主義音樂風(fēng)格的流變[J];交響-西安音樂學(xué)院學(xué)報;2010年03期

相關(guān)碩士學(xué)位論文 前3條

1 康長安;施尼特凱《鋼琴五重奏》創(chuàng)作技法研究[D];河南大學(xué);2007年

2 李繼紅;從布里頓的《小提琴協(xié)奏曲》op.15看其早期音樂語言與風(fēng)格[D];上海音樂學(xué)院;2007年

3 袁娜;斯特拉文斯基《七重奏》復(fù)調(diào)技法研究[D];哈爾濱師范大學(xué);2012年

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本文編號：2205751