【摘要】：阿諾德·勛伯格(Arnold Schoenberg,1874-1951),奧地利作曲家、理論家和音樂教育家,表現(xiàn)主義音樂的創(chuàng)始人。他一生創(chuàng)作了大量不同風(fēng)格的作品,其中十二音技法是他作品中用得較多的技法之一,也是他理論研究的重要領(lǐng)域。本文以其創(chuàng)作后期的一部室內(nèi)樂作品《第四弦樂四重奏》(Op.37)進(jìn)行十二音技法的研究,同時(shí)也關(guān)注作曲家在后期作品中將傳統(tǒng)技法與現(xiàn)代技法相融匯的創(chuàng)作特點(diǎn)與表現(xiàn)方式,對于深入了解作曲家的創(chuàng)作思路及其后期在十二音序列技法上的拓展等具有一定價(jià)值。 該論文由緒論、三個(gè)章節(jié)及結(jié)語構(gòu)成。 緒論包括兩個(gè)內(nèi)容,一是有關(guān)選題緣起、研究現(xiàn)狀的概述；二是關(guān)于勛伯格的生平與作品以及作曲家對其十二音作曲體系探索過程的簡述。 第一章研究作品的核心序列結(jié)構(gòu)、樂章的十二音主題分析以及十二音序列原則在整部作品中的運(yùn)用,在分析中重點(diǎn)關(guān)注序列的動機(jī)功能作用。 第二章研究作品中的序列陳述形態(tài),從常用的基本陳述形態(tài)與特殊陳述形態(tài)兩個(gè)方面著手,分析十二音序列在作品中的音高布局與陳述方式。 第三章研究作品中具有典型意義的序列“配對”關(guān)系,從其搭配形態(tài)、內(nèi)在結(jié)構(gòu)關(guān)系進(jìn)行分析,重點(diǎn)從兩個(gè)角度來關(guān)注其內(nèi)在的結(jié)構(gòu)關(guān)系,即組合性序列關(guān)系與對稱音列關(guān)系。 結(jié)語在總結(jié)全文的基礎(chǔ)上,對該作品中對稱原則的貫穿應(yīng)用作理論性概括。
[Abstract]:Arnold Schoenberg,1874-1951, Austrian composer, theorist and music educator, founder of expressionist music. In his life, he has created a large number of works of different styles, among which the twelve tone technique is one of the techniques used in his works, and is also an important field of his theoretical research. In this paper, a chamber music work (Op.37) in the late stage of its creation is used to study the techniques of twelve notes. At the same time, it also pays attention to the creative characteristics and expression ways of the composers' combination of traditional techniques and modern techniques in their later works, which has certain value for further understanding of the composer's creative ideas and the later development of the 12-tone sequence techniques. The thesis consists of introduction, three chapters and conclusion. The introduction consists of two parts, one is an overview of the origin of the topic and the status quo of the research, the other is a brief account of Schoenberg's life and works, as well as the process of the composer's exploration of his 12-tone composition system. The first chapter studies the core sequence structure of the work, the analysis of the 12-tone theme of the movement, the application of the 12-tone sequence principle in the whole work, and focuses on the role of the motivation function of the sequence in the analysis. The second chapter studies the sequence statement form in the works and analyzes the pitch distribution and presentation mode of the 12-tone sequence in the works from two aspects: the basic statement form and the special statement form. The third chapter studies the relationship of sequence "pairing" which has typical meaning in the works, analyzes its collocation form and internal structural relationship, and focuses on its internal structural relationship from two angles, that is, combinatorial sequence relationship and symmetric phonetic sequence relationship. On the basis of summing up the full text, the conclusion makes a theoretical summary of the penetration and application of the principle of symmetry in this work.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J614

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