發(fā)布時(shí)間：2018-02-09 21:03

  本文關(guān)鍵詞： 馬克斯·雷格爾 巴赫 貝多芬 舒曼 布拉姆斯 瓦格納 胡戈·里曼 變奏曲 賦格曲 復(fù)調(diào)技法　出處：《上海音樂(lè)學(xué)院》2005年博士論文　論文類型：學(xué)位論文

【摘要】：馬克斯·雷格爾(1873-1916)作為十九世紀(jì)晚期浪漫樂(lè)派傳統(tǒng)音樂(lè)的最后一位復(fù)調(diào)大師,其復(fù)調(diào)技法主要體現(xiàn)在變奏曲和賦格曲的創(chuàng)作中。變奏曲與賦格曲在他全部的作品中占有相當(dāng)?shù)臄?shù)量和份量,是雷格爾一生非常感興趣并投其極大精力的重要體裁。雷格爾變奏曲和賦格曲的創(chuàng)作技法既顯示了他受到巴赫、貝多芬、舒曼和布拉姆斯的影響,又體現(xiàn)了他在變奏曲與賦格曲中在動(dòng)機(jī)的衍生和結(jié)構(gòu)上有所創(chuàng)新的方法。他能非同凡響而令人震驚地把浪漫主義精神與巴赫的復(fù)調(diào)音樂(lè)如此巧妙地結(jié)合在一起,同時(shí)融合了布拉姆斯的古典主義之精髓與瓦格納的半音技法,寫(xiě)出了具有很高天賦的對(duì)位技術(shù)與錯(cuò)綜復(fù)雜而難以捉摸的器樂(lè)復(fù)調(diào)音樂(lè)。 本課題從復(fù)調(diào)發(fā)展的視角,通過(guò)對(duì)雷格爾的變奏曲和賦格曲的分析、考察和研究,探索他的復(fù)調(diào)技法,并給予歷史評(píng)價(jià),從中得到創(chuàng)作上的啟示。 本研究分為五章。第一章對(duì)雷格爾音樂(lè)個(gè)性的形成進(jìn)行了概述,尤其是對(duì)其早期受胡戈·里曼的影響作了分析。本章還探討了雷格爾對(duì)評(píng)論家們的批評(píng)所表現(xiàn)出來(lái)的無(wú)法容忍的態(tài)度,和他經(jīng)常對(duì)批評(píng)立即作出的反應(yīng),以及為擴(kuò)大影響,他對(duì)四處周游盡可能多地指揮或演奏自己作品的癡迷。 第二章是對(duì)雷格爾的音樂(lè)風(fēng)格與變奏原則的概述,包括對(duì)他在作曲技法發(fā)展上有重要意義的作品以及其他一些作品進(jìn)行了歸納。 第三章有選擇地分析了雷格爾的幾部大型變奏曲作品,其中包括:Op.81,Op.86,Op.100和Op.132等。 第四章是對(duì)雷格爾賦格寫(xiě)作的概述與研究,同時(shí)有選擇地分析了他在管風(fēng)琴、鋼琴、室內(nèi)樂(lè)以及管弦樂(lè)領(lǐng)域里的賦格技法。 第五章是結(jié)語(yǔ)部分。 雷格爾的變奏曲與賦格曲對(duì)發(fā)展這兩種古老的曲式或體裁的創(chuàng)作技法有著巨大的貢獻(xiàn),支撐他那繁復(fù)綿長(zhǎng)作品風(fēng)格的是他的創(chuàng)新精神和扎實(shí)的作曲技法,因此對(duì)其進(jìn)行更深入的研究是十分必要的。
[Abstract]:Max Ragger, 1873-1916) as the last polyphony of the late romantic tradition in 19th century, His polyphonic techniques are mainly embodied in the creation of variations and fugue, which occupy a considerable number and weight in all his works. It is an important genre in which Ragger was very interested and devoted great energy to his life. The techniques of his variations and fugue show that he was influenced by Bach, Beethoven, Schumann, and Brahms. It also reflects his innovative approach to the derivation and structure of motivation in variations and fugue. He is able to combine the romantic spirit with Bach's polyphonic music in such an extraordinary and shocking way. At the same time, combining the essence of Brahms' classicism with Wagner's semitone technique, he wrote the highly gifted antithesis technique and the intricate and elusive instrumental polyphonic music. From the perspective of polyphonic development, through the analysis, investigation and research of Ragger's variations and fugue, this paper explores his polyphonic techniques, and gives historical evaluation, from which the inspiration of his creation is obtained. This study is divided into five chapters. The first chapter summarizes the formation of Regel's musical personality. In particular, an analysis of his early exposure to the influence of Hugo Riemann. This chapter also explores the intolerable attitude shown by Regel to critics, his frequent immediate reaction to criticism, and the expansion of his influence. His obsession with directing or playing as much of his work as possible around Zhou You. The second chapter is an overview of Ragger's musical style and variation principles, including his works of great significance in the development of composing techniques and some other works. In the third chapter, several works of Reagher's large variations are analyzed selectively, including: Op. 81, Op. 86, Op. 100, Op.132, and so on. Chapter 4th is an overview and study of Riegel Fugue's writing, and a selective analysis of his fugue techniques in the field of organ, piano, chamber music and orchestral music. Chapter 5th is the conclusion. Regel's variations and fugue have made great contributions to the development of these two ancient forms or genres of creative techniques. His innovative spirit and solid composition techniques underpin his complicated and long work style. Therefore, it is necessary to study it more deeply.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2005
【分類號(hào)】：J614.3

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前2條

1 韋輝;布魯克納交響曲主題復(fù)調(diào)形態(tài)與技法研究[D];上海音樂(lè)學(xué)院;2012年

2 賈佳;用兩種聲音闡述一段人生[D];華東師范大學(xué);2012年

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本文編號(hào)：1498856