【摘要】：本文通過對德彪西《g小調(diào)弦樂四重奏》創(chuàng)作技法的研究，試圖探討在這首作品中所反映出的德彪西創(chuàng)作風(fēng)格的多樣性。本文提出：作曲家創(chuàng)作風(fēng)格的獨(dú)特性與廣泛性是不可分割的兩個(gè)方面，，德彪西作為印象主義作曲家的重要地位是毋庸置疑的，但是他的作品所反映出的其它風(fēng)格特征也是不容忽視的。本文從作品中獨(dú)特的調(diào)式處理、黃金分割比例的運(yùn)用、主題的發(fā)展、調(diào)性的呈現(xiàn)方式這四個(gè)方面來透視德彪兩《g小調(diào)弦樂四重奏》中風(fēng)格的多樣性——既有印象主義的風(fēng)格特征，也有德彪西晚期作品中出現(xiàn)的古典主義的先兆。德彪西對古典的回顧擴(kuò)展了美學(xué)的趣味性，生發(fā)了新的內(nèi)涵，其創(chuàng)新價(jià)值為二十世紀(jì)的作曲家開辟了新的道路。
[Abstract]:By studying Debussy's creative techniques in string Quartet in g minor, this paper attempts to explore the diversity of Debussy's creative styles reflected in this work. This paper points out that the uniqueness and extensiveness of the composer's creative style are two inseparable aspects, and Debussy's important position as an impressionist composer is beyond doubt. But the other style features reflected in his works can not be ignored. This article from the work of the unique mode of treatment, the use of golden proportion, the development of the theme, From these four aspects, we can see the variety of styles in de Biao's two string Quartet in G minor-the characteristic of impressionism and the foreboding of classicism in Debussy's late works. Debussy's retrospect of classical has expanded the interest of aesthetics and created new connotations, and its innovative value has opened a new way for the composers of the 20th century.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2004
【分類號】：J614

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 龔岳萍;傾聽陽光的腳步聲[D];東北師范大學(xué);2007年

2 鐘媛媛;《德彪西d小調(diào)大提琴與鋼琴奏鳴曲》結(jié)構(gòu)和演奏分析[D];中央音樂學(xué)院;2012年

本文編號：2427270