發(fā)布時(shí)間：2018-04-14 08:38

  本文選題：音響型電子音樂(lè) + 復(fù)調(diào)性思維　； 參考：《武漢音樂(lè)學(xué)院》2006年碩士論文

【摘要】： “音響型電子音樂(lè)”作為20世紀(jì)音樂(lè)的一個(gè)分支,不論是音響特征還是組織方式,都與傳統(tǒng)音樂(lè)有明顯的區(qū)分,但其創(chuàng)作思維是否與傳統(tǒng)音樂(lè)毫無(wú)關(guān)聯(lián)呢?本文以法國(guó)20世紀(jì)五十年代至本世紀(jì)初的電子音樂(lè)為例,從音色、音響形態(tài)出發(fā),來(lái)探究復(fù)調(diào)思維在音響型電子音樂(lè)中的體現(xiàn)。 本文以傳統(tǒng)復(fù)調(diào)思維中的“對(duì)抗”和“互補(bǔ)”兩種規(guī)律為依據(jù),以音響型電子音樂(lè)中音色和音響形態(tài)的特征為線索,論述了復(fù)調(diào)思維在音色及音響形態(tài)中的體現(xiàn),又以法國(guó)作曲家Yann Geslin的作品《Couleurs du temps》為例,來(lái)探討復(fù)調(diào)思維在完整作品中的體現(xiàn),以及對(duì)音響型電子音樂(lè)結(jié)構(gòu)的影響。
[Abstract]:As a branch of 20 ~ ( th ) century music , " stereo electronic music " is a branch of the 20th century music , whether it is a sound characteristic or an organization mode , is clearly distinguished from the traditional music , but whether its creative thinking is irrelevant to the traditional music ? This article takes the electronic music as an example from the 1950 ' s to the beginning of the century , and explores the reflection of the complex thinking in the sound electronic music from the sound and sound form .









Based on the two laws of " confrontation " and " complementary " in the traditional complex thinking , this paper discusses the reflection of the tone color and the sound form in the audio - type electronic music , and discusses the reflection of the complex thinking in the complete works , as well as the influence on the audio - type electronic music structure , taking the French composer Yann Geslin ' s works as an example .

【學(xué)位授予單位】：武漢音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：J614

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 徐孟東;對(duì)20世紀(jì)音樂(lè)中復(fù)調(diào)復(fù)興的認(rèn)識(shí)與思考[J];杭州師范學(xué)院學(xué)報(bào);1998年01期

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本文編號(hào)：1748500