本文選題：德彪西　切入點：意識流　出處：《上海音樂學(xué)院》2005年碩士論文　論文類型：學(xué)位論文

【摘要】：本文以德彪西的音樂作品為研究對象,以對其音樂作品的文本—樂譜分析為出發(fā)點,借用心理學(xué)研究領(lǐng)域中的“意識流”這一概念,結(jié)合應(yīng)用哲學(xué)—語言學(xué)中對“結(jié)構(gòu)”的研究方法和結(jié)論,對其音樂之形式化過程中所體現(xiàn)出來的“意識流”現(xiàn)象進(jìn)行了有別于傳統(tǒng)曲式學(xué)分析的多緯度研究,并希望通過這樣的研究得出對作曲家的創(chuàng)作心理規(guī)律和結(jié)構(gòu)審美心理的研究結(jié)論,并最終探尋作曲家在意識中對音樂天然結(jié)構(gòu)態(tài)的認(rèn)知。本文內(nèi)容包括緒論、論文主體以及結(jié)語三大部分,論文主體又分三個章節(jié)予以論述。緒論部分主要就德彪西音樂研究的相關(guān)背景、音樂分析以及本文研究所要涉及的其他學(xué)科研究的相關(guān)內(nèi)容進(jìn)行了扼要的介紹。論文主體的第一章除了對研究的范圍特別是研究對象的范疇予以了一定的界定外,并簡要闡述了哲學(xué)-心理學(xué)、結(jié)構(gòu)學(xué),以及音樂分析各領(lǐng)域的研究所面對的具體對象、問題及預(yù)期的解決方案等相關(guān)內(nèi)容;第二章著重討論一般意識流的定義以及意識流現(xiàn)象在音樂形態(tài)中的體現(xiàn);第三章結(jié)合實際音樂作品研究了德彪西音樂作品中的結(jié)構(gòu)綿延和綿延結(jié)構(gòu)以及其作品中內(nèi)在時間的結(jié)構(gòu)比例,從而論證了其音樂作品結(jié)構(gòu)設(shè)計、結(jié)構(gòu)思維中所具有的“意識流”現(xiàn)象。結(jié)語不僅總結(jié)了全文,并進(jìn)一步對文章的中心論點進(jìn)行了適當(dāng)?shù)难a充論述。
[Abstract]:This paper takes Debussy's music works as the research object, takes the text-music score analysis of his music works as the starting point, and borrows the concept of "stream of consciousness" in the field of psychological research. Combined with the research methods and conclusions of "structure" in applied philosophy and linguistics, the "stream of consciousness" phenomenon embodied in the formalization process of its music is studied at various latitudes, which are different from the traditional musical analysis. It is hoped that the conclusion of the research on the composers' creative psychological law and structural aesthetic psychology will be obtained through such a study, and finally the composer's cognition of the natural structural state of music in his consciousness will be explored. The main body of the thesis and the conclusion are discussed in three chapters. The introduction is mainly about the background of Debussy's music research. Music analysis and related contents of other disciplines involved in this study are briefly introduced. The first chapter of the thesis not only defines the scope of the study, especially the category of the object of study, but also defines the scope of the study, especially the category of the object of study. It also briefly describes the specific objects, problems and expected solutions faced by the research institutes in the fields of philosophy-psychology, structure, and music analysis. The second chapter mainly discusses the definition of general stream of consciousness and the embodiment of the phenomenon of stream of consciousness in music form. The third chapter studies the structure of Debussy's musical works and the proportion of time in his music works, and then demonstrates the structure design of Debussy's music works. The conclusion not only summarizes the full text, but also makes an appropriate supplementary exposition to the central argument of the article.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2005
【分類號】：J605

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 王瑞;德彪西歌劇《佩利亞斯與梅麗桑德》的音樂學(xué)分析[D];天津音樂學(xué)院;2007年

，

本文編號：1617022