發(fā)布時(shí)間：2018-10-30 17:48

【摘要】： 作為現(xiàn)代音樂(lè)創(chuàng)始人之一的貝拉·巴托克(Bela Bartok,1881—1945)，一直把弦樂(lè)四重奏這一古老的體裁作為他創(chuàng)作的重要領(lǐng)域。二十世紀(jì)初正是歐洲各種音樂(lè)流派爭(zhēng)艷盛行的時(shí)期，《第三、第四弦樂(lè)四重奏》(1927、1928)的音樂(lè)風(fēng)格較集中的反映了受到諸多音樂(lè)流派影響的巴托克在這一時(shí)期的創(chuàng)作思想和美學(xué)原則，作者賦予這一時(shí)期(二十世紀(jì)二十年代)的大膽試驗(yàn)與創(chuàng)新精神在這兩部作品里得到了較鮮明的體現(xiàn)。通過(guò)分析與研究這兩部作品，對(duì)于我們?cè)忈尠屯锌撕髞?lái)更加成熟的和晚期作品具有重要意義。 巴托克的曲式具有創(chuàng)新意義：《第三弦樂(lè)四重奏》是“巴托克式單樂(lè)章思維”的一個(gè)典型范例；《第四弦樂(lè)四重奏》五樂(lè)章套曲的拱形結(jié)構(gòu)也是這種特色曲式結(jié)構(gòu)的典型代表作品之一；其中的第四樂(lè)章是巴托克的“軸心體系”與“黃金標(biāo)界”的精確體現(xiàn)。此外，主導(dǎo)動(dòng)機(jī)貫穿的手法則是巴托克在運(yùn)用現(xiàn)代的音樂(lè)語(yǔ)言的基礎(chǔ)上對(duì)貝多芬晚期的“貫穿曲式”的繼承與發(fā)揚(yáng)。 巴托克的和聲同樣具有創(chuàng)新意義：他也采用序列作曲，他的“調(diào)式半音體系”是在對(duì)民間音樂(lè)多調(diào)式綜合的基礎(chǔ)上建立的，他的富有特色的和聲音響是現(xiàn)代和聲與民間音樂(lè)結(jié)合。 巴托克不是封閉的，，在吸收現(xiàn)代作曲技法的同時(shí)又堅(jiān)持自己的創(chuàng)作思想和美學(xué)原則，“調(diào)性原則”是他克服眾多音樂(lè)流派影響的基石。 巴托克的創(chuàng)作大致經(jīng)歷了從早期的初步探索——大膽試驗(yàn)創(chuàng)新時(shí)期——?jiǎng)?chuàng)作的輝煌時(shí)期和晚期三個(gè)階段，這三個(gè)階段音樂(lè)風(fēng)格的轉(zhuǎn)變恰好形成了一個(gè)倒∪字形——∩。而《第三、第四弦樂(lè)四重奏》》正好處于∩字形的頂部。在分析《第三、第四弦樂(lè)四重奏》的同時(shí)，又結(jié)合著對(duì)這三個(gè)不同時(shí)期作品的分析不僅能使我們加深對(duì)兩部作品的理解，而且還能使我們從更高的角度、更全面的把握巴托克的創(chuàng)作思想和美學(xué)原則。
[Abstract]:As one of the founders of modern music, Bela Bartok,1881-1945 always regards string quartet as an important field of his creation. The beginning of the twentieth century was a period when all kinds of music schools in Europe were in vogue. The musical style of the fourth string quartet (1927, 1928) reflects Bartok's creative ideas and aesthetic principles in this period, which are influenced by many musical schools. The spirit of bold experiment and innovation given by the author in this period (1920s) has been clearly reflected in these two works. Through the analysis and study of these two works, it is of great significance for us to interpret Bartock's more mature and late works. Bartok's form is of innovative significance: the third string Quartet is a typical example of Bartok's thinking of single movement; The arched structure of the five-movement ensemble is also one of the typical works of the characteristic musical structure, and the fourth movement is the exact embodiment of Bartok's "axis system" and "gold demarcation". In addition, the dominant motivation is Bartock's inheritance and development of Beethoven's late "penetrating form" on the basis of the use of modern musical language. Bartok's harmonies are also innovative: he also uses sequences to compose music, and his "tone semitone system" is built on the basis of a multi-modal synthesis of folk music. His distinctive harmony sound is a combination of modern harmony and folk music. Bartok is not closed. He absorbs modern composing techniques and adheres to his own creative thought and aesthetic principle. "Tonal principle" is the cornerstone of his overcoming the influence of many music schools. Bartok's creation has experienced three stages from the early exploration-the period of bold experiment and innovation-to the brilliant period and the late stage of creation. And third, the fourth string quartet > is just at the top of the shape. In the analysis of the third, fourth string Quartet, combined with the analysis of the works of these three different periods, not only can we deepen our understanding of the two works, but also make us from a higher perspective. A more comprehensive grasp of Bartok's creative thought and aesthetic principles.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2002
【分類號(hào)】：J657.64

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 劉利劍;論巴托克音樂(lè)創(chuàng)作風(fēng)格[D];東北師范大學(xué);2007年

2 劉曉林;巴托克《第五弦樂(lè)四重奏》和聲研究[D];山東師范大學(xué);2013年

本文編號(hào)：2300726