本文選題：克熱內(nèi)克　切入點：十二音技法　出處：《南京藝術(shù)學(xué)院》2009年博士論文

【摘要】： 恩斯特·克熱內(nèi)克(Ernst Krenek,1900-1991),美籍奧地利作曲家、指揮家和鋼琴家,同時也是音樂評論家和音樂教育家。他一生創(chuàng)作了大量各種風(fēng)格流派的作品,其中十二音技法是他持續(xù)時間最長,創(chuàng)作作品最多的技法之一�？藷醿�(nèi)克一共創(chuàng)作了八首弦樂四重奏,其中第六、第七、第八三首弦樂四重奏均采用十二音技法寫作而成。三個作品分別創(chuàng)作于不同的時期,研究三首弦樂四重奏十二音技法在不同階段的表現(xiàn)形式,對于深入了解作曲家的創(chuàng)作思路、風(fēng)格特征的演變等具有重要意義。 該論文由緒論、五個章節(jié)、結(jié)語構(gòu)成: 緒論是有關(guān)克氏的生平、藝術(shù)成就及八首弦樂四重奏的綜述。對他的十二音作品進行梳理以及八首弦樂四重奏進行概括性總結(jié),并理清相關(guān)概念。 第一章大致闡述第六弦樂四重奏的創(chuàng)作背景,研究第六弦樂四重奏嚴格的十二音單一序列原則的運用,在分析中重點關(guān)注單一序列初始音高的變化,即潛在調(diào)性與十二音主題形態(tài)。 第二章大致闡述第七弦樂四重奏創(chuàng)作背景,用音級集合理論分析出三音組音高置換關(guān)系統(tǒng)一貫穿全曲的思路,以及主題片段音高置換與自由十二音主題形態(tài)。 第三章大致闡述第八弦樂四重奏創(chuàng)作背景,該曲主要運用自由十二音與多元風(fēng)格材料拼貼技法相結(jié)合,并組成新的有機統(tǒng)一體。 第四章在十二音技法基礎(chǔ)上對三首作品在和聲、曲式、復(fù)調(diào)、配器、織體、節(jié)奏等方面的特點作概括性梳理。 第五章從三首作品表現(xiàn)形式到演變過程看克熱內(nèi)克對十二音技法拓展的思路和觀念。 結(jié)語在總結(jié)全文的基礎(chǔ)上,探尋作曲家拓展思路的美學(xué)意義。同時,也充分肯定了克熱內(nèi)克對十二音技法拓展方面起到的作用以及他的思路對當代創(chuàng)作的啟示。
[Abstract]:Ernst Krenekian, an Austrian American composer, conductor, pianist, and music critic and educator, wrote a large number of works of various genres throughout his life, of which the 12-tone technique was his longest. One of the most creative techniques. Kjenek has created eight string quartets, of which the sixth, seventh, and eighty-third string quartets are all written using the 12-tone technique. The three works were created at different times. It is of great significance to study the expression forms of three string quartet techniques in different stages for the further understanding of the composer's creative ideas and the evolution of style characteristics. The thesis is composed of five chapters and conclusion:. The introduction is a summary of his life, artistic achievements and eight string quartets. It summarizes his works of twelve notes and eight string quartets, and clarifies the related concepts. The first chapter describes the background of the creation of the sixth string quartet, studies the application of the strict principle of the 12-tone single sequence of the sixth string quartet, and focuses on the change of the initial pitch of the single sequence in the analysis. That is, potential tonality and 12-tone theme form. In the second chapter, the background of the seventh string quartet is briefly described, and the idea of the unity of the three group pitch replacement relationship through the whole song is analyzed by using the level set theory, as well as the theme segment pitch replacement and the free twelve tone theme form. The third chapter describes the background of the eighth string quartet, which mainly combines free twelve notes with multi-style material collage techniques, and forms a new organic unity. The fourth chapter summarizes the characteristics of the three works in harmony, music, polyphony, orchestration, texture, rhythm and so on. The fifth chapter from the three works form to the evolution of Kjenek's ideas and ideas on the development of twelve-tone techniques. On the basis of summing up the full text, the conclusion explores the aesthetic significance of the composer's idea of expanding, and at the same time, fully affirms the role played by Kejenek in the development of the 12-tone technique and the enlightenment of his thinking to contemporary creation.
【學(xué)位授予單位】：南京藝術(shù)學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2009
【分類號】：J614

【引證文獻】

相關(guān)博士學(xué)位論文 前1條

1 孫曉燁;賦格寫作中十二音序列技法的研究[D];南京藝術(shù)學(xué)院;2011年

相關(guān)碩士學(xué)位論文 前1條

1 高瑾;克熱內(nèi)克十二音對位及其創(chuàng)作實踐[D];武漢音樂學(xué)院;2010年

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本文編號：1685562