本文選題：假說　切入點(diǎn)：音樂結(jié)構(gòu)研究　出處：《江西師范大學(xué)》2005年碩士論文

【摘要】：音樂結(jié)構(gòu)研究近年來已成為國內(nèi)外許多音樂理論家關(guān)注的學(xué)術(shù)焦點(diǎn),他們站在各自不同的學(xué)科角度對音樂結(jié)構(gòu)進(jìn)行多樣化的豐富各異的研究:早在上個世紀(jì)六十年代我國著名音樂理論家,作曲家吳祖強(qiáng)先生就提出了他的“廣義”、“狹義”音樂結(jié)構(gòu)觀點(diǎn),指出廣義的音樂結(jié)構(gòu)是指樂曲中所運(yùn)用的一切表現(xiàn)手段的綜合,而狹義的音樂結(jié)構(gòu)則是指音樂的段落安排,組合邏輯,即所謂曲式結(jié)構(gòu)。在當(dāng)時(shí)此觀點(diǎn)具有一定的代表性和權(quán)威性;上個世紀(jì)八十年代到本世紀(jì)初,我國著名音樂理論家、作曲家和音樂教育家趙曉生先生的音樂結(jié)構(gòu)研究經(jīng)歷了從二元論到多元論的發(fā)展和演進(jìn),在音樂理論界具有一定的代表性和典型性,反映出了音樂結(jié)構(gòu)研究匯集了心理學(xué)、聲響學(xué)等其它學(xué)科領(lǐng)域的宏觀上的多元化演進(jìn);同時(shí),音樂結(jié)構(gòu)研究中的徽觀具體化技術(shù)研究仍呈主流態(tài)勢,許多音樂理論家仍潛心鉆研于音樂本體技術(shù)結(jié)構(gòu)領(lǐng)域的探索尋源等等。本篇就音樂結(jié)構(gòu)研究的主旨課題,第一章將以1994年美國音樂博士曼特爾·胡德(Mentel Hood)提出的“量子音樂論”為原動點(diǎn),以量子論的實(shí)驗(yàn)基礎(chǔ)物質(zhì)的波粒二象性為切入點(diǎn),映射于音樂結(jié)構(gòu)研究中,進(jìn)行一系列的展衍推理,擬構(gòu)筑波粒二象映喻機(jī)制的理論假說:創(chuàng)意性地將量子物質(zhì)波粒二象性映射于音樂結(jié)構(gòu)研究中,隱喻著音樂結(jié)構(gòu)中樂結(jié)構(gòu)之一的波象音樂心理審美場和音結(jié)構(gòu)之一的粒象音樂能量場,并利用音樂心理學(xué)的三種研究模式操作流程化,使得音樂結(jié)構(gòu)研究既注重了細(xì)節(jié)修飾的局部特征,又兼顧整體全局的宏觀統(tǒng)一;第二章將前文的理論假說付諸于實(shí)踐演釋,以巴赫和肖斯塔科維奇兩位不同時(shí)期不同風(fēng)格的作曲家對前奏曲與賦格同一音樂體裁的不同理解為分析范本,全面操作演示了音樂結(jié)構(gòu)研究波粒二象映喻機(jī)制的實(shí)際運(yùn)用。由此全文分別從理論闡述和試驗(yàn)詮釋兩個角度對音樂結(jié)構(gòu)研究的波粒二象映喻機(jī)制,即量子音樂論的展衍假說進(jìn)行了詳細(xì)的闡釋。
[Abstract]:In recent years, the study of music structure has become the academic focus of many music theorists at home and abroad. They have diversified and varied studies of the music structure from different academic perspectives: as early as the 1960s, our country's famous music theorists, Composer Wu Zuqiang put forward his viewpoint of "broad sense" and "narrow sense" of musical structure, pointing out that broad musical structure refers to the synthesis of all means of expression used in music, while narrow musical structure refers to the arrangement of music paragraphs. Combinatorial logic, the so-called musical structure, was representative and authoritative at that time. From the 1980s to the beginning of this century, our country's famous music theorists, The research on music structure of composer and music educator Mr. Zhao Xiaosheng has gone through the development and evolution from dualism to pluralism, and has certain representativeness and typicality in the field of music theory, which reflects that the study of music structure is a collection of psychology. At the same time, there is still a mainstream trend in the study of the concept of embellishment in the study of music structure. Many music theorists are still studying in the field of music ontology technology structure, and so on. In the first chapter, "quantum music theory" proposed by Mentel Hoodin, American music doctor in 1994, is taken as the original point of action, and the wave-particle duality of the experimental basic matter of quantum theory is taken as the breakthrough point, which is mapped to the study of music structure. A series of extrapolation reasoning is carried out to construct the theoretical hypothesis of wave-particle mapping mechanism: to creatively map the wave-particle duality of quantum matter to the study of music structure. It symbolizes the aesthetic field of wave music and the energy field of image music, which is one of the musical structures in music structure, and uses the three research modes of music psychology to operate the process. The study of music structure not only pays attention to the local characteristics of detail modification, but also gives consideration to the macro unity of the whole situation. Based on Bach and Shostakovich's different interpretations of the same genre of prelude and fugue, two composers of different periods and different styles are taken as the model of analysis. The comprehensive operation demonstrates the practical application of the mechanism of wave-grained two-image metonymy in the study of musical structure, and from this point of view, the thesis explains the mechanism of wave-particle two-image metonymy in the study of music structure from the two angles of theoretical elaboration and experimental interpretation, respectively. That is, quantum music theory development hypothesis is explained in detail.
【學(xué)位授予單位】：江西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2005
【分類號】：J601

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本文編號：1684435