論一致性原則在勛伯格《鋼琴小品六首》（Op.19）中的體現(xiàn)
發(fā)布時(shí)間：2018-10-09 16:11
【摘要】： 勛伯格是二十世紀(jì)最重要的作曲家之一,他創(chuàng)立了十二音作曲技法和音樂上的表現(xiàn)主義風(fēng)格。在創(chuàng)作過程中,勛伯格特別強(qiáng)調(diào)樂曲中的“一致性’(Coherence),通過各種手段,比如音級(jí)數(shù)、動(dòng)機(jī)、旋律型、樂句、節(jié)奏、力度等等來保持無調(diào)性樂曲中的一致性。 在勛伯格大量的音樂作品中,鋼琴作品占據(jù)著很重要的地位,展現(xiàn)了勛伯格音樂作品中獨(dú)特的一面。這些鋼琴作品貫穿于勛伯格創(chuàng)作的各個(gè)時(shí)期,反映了他創(chuàng)作技巧的發(fā)展過程。勛伯格的鋼琴作品徹底改變了音樂結(jié)構(gòu)的基礎(chǔ),他的每一首鋼琴作品,都是現(xiàn)代鋼琴音樂發(fā)展的里程碑。 勛伯格的《鋼琴小品六首》作品第19號(hào)(Sechs Kleine Klavierstucke)一共由六首小品組成,是他的創(chuàng)作進(jìn)入無調(diào)性階段的代表作之一。這部作品集中體現(xiàn)了勛伯格鋼琴曲的一個(gè)重要特征——“一致性”原則。作為一組比較適合于學(xué)習(xí)勛伯格鋼琴曲的入門作品,這幾首樂曲短小凝練,采用表現(xiàn)主義風(fēng)格,每一首都在創(chuàng)作上體現(xiàn)著自己的特色。有些人認(rèn)為這兒首曲子沒有音樂思想,或者只是一些音樂思想的碎片,但事實(shí)上卻與之恰恰相反,這些曲子中的音樂思想不僅有自己的特點(diǎn),而且非常豐富和全面。勛伯格在這六首小品中,巧妙地運(yùn)用音級(jí)數(shù)、節(jié)奏型,旋律、樂句、固定音型等等手法,把整部作品組合在一起,構(gòu)成一個(gè)有機(jī)的整體,使這部無調(diào)性作品不論是在結(jié)構(gòu)還是音樂素材上都達(dá)到了高度的統(tǒng)一本文對(duì)勛伯格早期鋼琴作品《鋼琴小品六首》作品第19號(hào)進(jìn)行分析,主要針對(duì)每一首小品中的音級(jí)數(shù)、黃金分割點(diǎn)、段落結(jié)構(gòu)、旋律特征、節(jié)奏型及其它創(chuàng)作技法進(jìn)行研究,探討樂曲中“簡(jiǎn)潔凝練的”特性及無調(diào)性作曲技法等等。通過對(duì)這些作曲技法的研究,來闡釋勛伯格是如何在鋼琴作品中保持全曲的一致性。
[Abstract]:Schoenberg was one of the most important composers of the twentieth century, creating twelve-tone composition techniques and musical expressionism. In the process of writing Schoenberg emphasized that the "consistency" (Coherence), in the music maintained consistency in the anechoic music through various means such as tone progression, motivation, melodic type, phrase, rhythm, intensity, and so on. Among Schoenberg's many musical works, piano works occupy a very important position, showing the unique side of Schoenberg's musical works. These piano works run through every period of Schoenberg's creation and reflect the development of his creative skills. Schoenberg's piano works have completely changed the foundation of music structure. Each of his piano works is a milestone in the development of modern piano music. Schoenberg's Piano essay No. 19 (Sechs Kleine Klavierstucke) consists of six pieces and is one of his masterpieces. This work epitomizes the principle of consistency, an important feature of Schoenberg's piano. As an introduction to Schoenberg's piano, these pieces are short and expressive, and each capital has its own characteristics. Some people think that there is no musical thought here, or only some pieces of musical thought, but in fact, the music thought in these songs not only has its own characteristics, but also is very rich and comprehensive. In these six pieces, Schoenberg skillfully uses the techniques of sound progression, rhythm, melody, phrase, fixed tone and so on, to combine the whole work together to form an organic whole. This anatonic work has achieved a high degree of unity in terms of structure and musical material. This paper analyzes Schoenberg's early piano works "Piano Sketch six" and works No. 19, mainly focusing on the sound levels in each piece. The Golden Section, paragraph structure, Melody characteristics, Rhythm and other creative techniques are studied, and the "concise" characteristics and non-tonality composing techniques in music are discussed. By studying these composition techniques, Schoenberg explains how Schoenberg maintains consistency in piano works.
【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J624.1
本文編號(hào)：2259954
[Abstract]:Schoenberg was one of the most important composers of the twentieth century, creating twelve-tone composition techniques and musical expressionism. In the process of writing Schoenberg emphasized that the "consistency" (Coherence), in the music maintained consistency in the anechoic music through various means such as tone progression, motivation, melodic type, phrase, rhythm, intensity, and so on. Among Schoenberg's many musical works, piano works occupy a very important position, showing the unique side of Schoenberg's musical works. These piano works run through every period of Schoenberg's creation and reflect the development of his creative skills. Schoenberg's piano works have completely changed the foundation of music structure. Each of his piano works is a milestone in the development of modern piano music. Schoenberg's Piano essay No. 19 (Sechs Kleine Klavierstucke) consists of six pieces and is one of his masterpieces. This work epitomizes the principle of consistency, an important feature of Schoenberg's piano. As an introduction to Schoenberg's piano, these pieces are short and expressive, and each capital has its own characteristics. Some people think that there is no musical thought here, or only some pieces of musical thought, but in fact, the music thought in these songs not only has its own characteristics, but also is very rich and comprehensive. In these six pieces, Schoenberg skillfully uses the techniques of sound progression, rhythm, melody, phrase, fixed tone and so on, to combine the whole work together to form an organic whole. This anatonic work has achieved a high degree of unity in terms of structure and musical material. This paper analyzes Schoenberg's early piano works "Piano Sketch six" and works No. 19, mainly focusing on the sound levels in each piece. The Golden Section, paragraph structure, Melody characteristics, Rhythm and other creative techniques are studied, and the "concise" characteristics and non-tonality composing techniques in music are discussed. By studying these composition techniques, Schoenberg explains how Schoenberg maintains consistency in piano works.
【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J624.1
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相關(guān)期刊論文 前10條
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