本文選題：西方現(xiàn)代復(fù)調(diào)技法　切入點(diǎn)：對(duì)位研究　出處：《浙江師范大學(xué)》2014年碩士論文

【摘要】：西方現(xiàn)代復(fù)調(diào)技法是指在20世紀(jì)以來(lái)有別于傳統(tǒng)單一調(diào)性音樂(lè)的復(fù)調(diào)創(chuàng)作技法,隨著傳統(tǒng)調(diào)性思維的逐漸走向瓦解、崩潰,作曲家們?cè)谝舾摺⒐?jié)拍節(jié)奏、織體、調(diào)式調(diào)性、音色、音響等音樂(lè)素材的組織形式上沖破了傳統(tǒng)調(diào)性觀念的束縛,為的是追求各種奇異的音響、色彩,如此便使得音樂(lè)的發(fā)展手法、方式具有多元化的特點(diǎn),出現(xiàn)了“百家爭(zhēng)鳴”的音樂(lè)時(shí)期,如德彪西的印象派、勛伯格的表現(xiàn)主義、欣德米特的新古典主義、巴托克的民族樂(lè)派、斯托克豪森的電子音樂(lè)、魯托斯拉夫斯基的有限制的偶然音樂(lè)等等,但總的來(lái)說(shuō),現(xiàn)代復(fù)調(diào)音樂(lè)的創(chuàng)作,在聲部結(jié)合的總特征是強(qiáng)調(diào)各聲部旋律線條橫向發(fā)展的思維,音樂(lè)的風(fēng)格呈現(xiàn)出色彩奇異、復(fù)雜的現(xiàn)代性特征,是作曲家們?yōu)闈M足各種不同的審美而誕生的。 在此需要提及與回顧一下傳統(tǒng)的單一調(diào)性音樂(lè),它指的是音樂(lè)作品的調(diào)性是基于一個(gè)調(diào)性的范圍內(nèi)展開(kāi),縱向思維是以和聲為載體,音程之間的協(xié)和性為其主要的創(chuàng)作原則,在單一調(diào)性多聲部音樂(lè)中,音樂(lè)的發(fā)展既要考慮聲部之間的協(xié)和性,與此同時(shí)也要顧及音樂(lè)的旋律性,即縱向?qū)ξ患纫⒃谝詡鹘y(tǒng)和聲思維上又要橫向方面旋律性,兩者兼顧,且音樂(lè)都要統(tǒng)一在一個(gè)調(diào)性里(雖然在其過(guò)程中會(huì)出現(xiàn)離調(diào)、轉(zhuǎn)調(diào)的現(xiàn)象)。而現(xiàn)代復(fù)調(diào)音樂(lè)則不然,縱向結(jié)合上是不以其協(xié)和性為創(chuàng)作原則,聲部之間產(chǎn)生大量不協(xié)和音響,形成復(fù)雜的關(guān)系,在調(diào)式調(diào)性方面它可能是雙調(diào)性或者多調(diào)性,甚至是無(wú)調(diào)性的音樂(lè)特點(diǎn),其音響色彩豐富且復(fù)雜。 關(guān)于中國(guó)對(duì)西方現(xiàn)代復(fù)調(diào)技法的研究已近40年了,在這段時(shí)間里,相關(guān)的研究已經(jīng)取得了豐厚的成果,如我國(guó)的復(fù)調(diào)大師陳銘志先生、林華先生、中央音樂(lè)學(xué)院教授于蘇賢先生、武漢音樂(lè)學(xué)院教授劉永平先生等等,他們對(duì)我國(guó)復(fù)調(diào)音樂(lè)發(fā)展可謂是功勛卓著,其各種西方現(xiàn)代復(fù)調(diào)技法理論的研究總結(jié)也已經(jīng)深深地影響了我國(guó)后來(lái)作曲家的創(chuàng)作,本文將站在前輩們的研究成果的基礎(chǔ)之上,以西方現(xiàn)代復(fù)調(diào)技法作為研究的對(duì)象,通過(guò)采用文獻(xiàn)研究法、歸納法、實(shí)證研究法這三種研究方法,吸收我國(guó)在相關(guān)基礎(chǔ)理論眾多的研究成果精髓的基礎(chǔ)上,根據(jù)西方現(xiàn)代復(fù)調(diào)技法的類別對(duì)其進(jìn)行梳理、分類、歸納、總結(jié),并結(jié)合對(duì)我國(guó)當(dāng)代部分作曲家作品的實(shí)例分析,以此使其與相關(guān)的復(fù)調(diào)技法概念、特征相對(duì)應(yīng),以期從更為全面的方式來(lái)呈現(xiàn)和詮釋西方現(xiàn)代復(fù)調(diào)作曲技法在我國(guó)產(chǎn)生的影響與發(fā)展,實(shí)現(xiàn)理論研究與實(shí)踐運(yùn)用的對(duì)位關(guān)系。 在搜集、整理、分類、閱讀相關(guān)文獻(xiàn)資料的過(guò)程中,對(duì)西方現(xiàn)代復(fù)調(diào)技法的研究成果進(jìn)行技法類別梳理,本文將其內(nèi)容大概分類如下：即雙調(diào)性與多調(diào)性的對(duì)位結(jié)構(gòu)、全音階對(duì)位結(jié)構(gòu)、微復(fù)調(diào)結(jié)構(gòu)、宏復(fù)調(diào)結(jié)構(gòu)、假?gòu)?fù)調(diào)(單聲復(fù)調(diào))結(jié)構(gòu)、無(wú)調(diào)性對(duì)位結(jié)構(gòu)、十二音對(duì)位結(jié)構(gòu)、節(jié)拍、節(jié)奏對(duì)位結(jié)構(gòu)、線性對(duì)位結(jié)構(gòu)、音色對(duì)位結(jié)構(gòu)、偶然對(duì)位、復(fù)風(fēng)格對(duì)位等是各種復(fù)調(diào)技法。當(dāng)然,由于時(shí)間及本人學(xué)識(shí)有限,可能還有更多的技法需補(bǔ)充,且隨著音樂(lè)歷史的發(fā)展,也必然會(huì)出現(xiàn)更多的創(chuàng)作技法,這是歷史的必然規(guī)律。有一點(diǎn)需要說(shuō)明,本文的另一創(chuàng)新之處是將“假?gòu)?fù)調(diào)”與“單聲復(fù)調(diào)”歸為一種復(fù)調(diào)技法,是因?yàn)樗鼈冎g實(shí)屬同一本質(zhì)內(nèi)涵,將在第五章詳細(xì)論述。 文章的宏觀結(jié)構(gòu)共分為三個(gè)部分,即有緒論、正文、結(jié)語(yǔ)組成。緒論講述了兩個(gè)方面,一是論文的立意和選題緣由；二是研究的必要性及現(xiàn)實(shí)意義；正文是文章的核心部分,共有十一個(gè)章節(jié),在每一章節(jié)中分別對(duì)西方現(xiàn)代復(fù)調(diào)技法中的各種創(chuàng)作技法進(jìn)行梳理、歸納與總結(jié),由三個(gè)部分來(lái)論述,即各復(fù)調(diào)技法的基本概念、基礎(chǔ)理論研究和實(shí)踐運(yùn)用；結(jié)語(yǔ)是對(duì)各種西方現(xiàn)代復(fù)調(diào)技法的總結(jié)及其思考,并引發(fā)的新的問(wèn)題。 筆者通過(guò)對(duì)以上種種西方現(xiàn)代復(fù)調(diào)技法的整理研究,使得對(duì)各技法的概念及其創(chuàng)作都有一個(gè)更高、更深認(rèn)識(shí),本文希望對(duì)將來(lái)作曲與作曲技術(shù)理論進(jìn)一步研究提供有益的參考價(jià)值與意義。
[Abstract]:The western modern polyphony technique refers to the complex creation technique which is different from the traditional single tonal music since the 20th century . With the gradual trend of traditional tonal thinking , it breaks through the limitation of the traditional modulation concept , so as to pursue all kinds of strange sound and color , so that the music development method and style have the characteristics of pluralism , and the music period , such as Debussy ' s Impressionism , Schoenberg ' s expressionism , Lutoslavsk媒 ' s limited chance music and so on .

There is a need to refer to and review the traditional single tonal music , which means that the tone of the musical works is based on a tonal range . The vertical thinking is based on the harmony between the sound and the sound . In the single tonal multi - vocal music , the development of music will not only take into account the harmony between the vocal parts , but also take into account the melodic nature of the music . However , in the case of modern reproduction music , the longitudinal integration is not based on its harmony as the creative principle , and there is a great deal of incoordination and sound between the vocal parts to form a complex relationship . In the aspect of the adjustability , it may be double - tonal or multi - tonal , and even non - tonal music features , its sound color is rich and complex .

In the past 40 years , the research on the western modern rehabilitation technique has been very successful in China .

In the process of collecting , sorting , classifying and reading related documents , the author sorts out the research achievements of western modern rehabilitation techniques . This paper classifies the contents of western modern rehabilitation techniques as follows : dual adjustability and polytropic alignment structure , full scale contraposition structure , non - adjustable contraposition structure , macro - reset structure , false - tone alignment structure , casual contrapuntal structure , linear contraposition structure , tone - color contraposition structure , casual contraposition , complex - style contraposition and so on .

The macro - structure of the article is divided into three parts , namely , the preface , the text and the conclusion .
The second is the necessity and realistic significance of the research .
The text is the core part of the article . There are eleven chapters . In each chapter , the author sorts , sums up and summarizes the various creative techniques in the western modern rehabilitation technique respectively , which consists of three parts : basic concept , basic theory research and practical application .
The conclusion is the summary and reflection of various western modern rehabilitation techniques , and raises new problems .

Through the study of the above all kinds of western modern rehabilitation techniques , the author makes a higher and deeper understanding of the concept and creation of each technique . This paper hopes to provide some useful reference and significance for further research on the future composing and composing techniques .

【學(xué)位授予單位】：浙江師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J614.2

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