本文選題：管弦樂(lè)法 + 風(fēng)格��； 參考：《上海音樂(lè)學(xué)院》2006年博士論文

【摘要】：本文在探討管弦樂(lè)法風(fēng)格定義、管弦樂(lè)法風(fēng)格研究方法，并對(duì)管弦樂(lè)法發(fā)展史上主要的兩個(gè)風(fēng)格——素描風(fēng)格和彩繪風(fēng)格進(jìn)行界定的基礎(chǔ)上，對(duì)其中最早達(dá)到鼎盛時(shí)期的管弦樂(lè)法素描風(fēng)格在18-19世紀(jì)的發(fā)展背景，觀(guān)念、技法的演變，以及其與彩繪風(fēng)格相互影響來(lái)追溯起源流，并對(duì)其管弦樂(lè)法發(fā)展史上的重要地位進(jìn)行論證。 筆者將18-19世紀(jì)管弦樂(lè)法素描風(fēng)格作為研究對(duì)象的目的主要有以下兩點(diǎn)： 其一，由于18世紀(jì)樂(lè)隊(duì)雛形剛剛形成，開(kāi)發(fā)樂(lè)器本身的演奏技法、音色表現(xiàn)力，以及樂(lè)器組合的各種可能及表現(xiàn)力成為18-19世紀(jì)作曲家們的努力目標(biāo)。同時(shí)，古典主義時(shí)期和聲體系的成熟運(yùn)用與令人滿(mǎn)意的動(dòng)力性將永不止步的作曲家們的吸引力轉(zhuǎn)移到了剛剛成為一門(mén)獨(dú)立作曲技法的管弦樂(lè)法，如何在管弦樂(lè)隊(duì)作品中建立真正的管弦樂(lè)的音色成為他們面前的一個(gè)新難題。在整個(gè)18、19世紀(jì)，，管弦樂(lè)法的發(fā)展為20世紀(jì)多彩的、多樣的器樂(lè)作品解決了最基本的問(wèn)題，為這一世紀(jì)及以后的管弦樂(lè)作品創(chuàng)作奠定了扎實(shí)的基礎(chǔ)。因此，對(duì)于18-19世紀(jì)管弦樂(lè)法的研究將揭示這一重要時(shí)期管弦樂(lè)法的特征以及發(fā)展線(xiàn)索。 其二，素描風(fēng)格并非象大部分人認(rèn)為的是彩繪風(fēng)格的雛形，兩者同時(shí)萌芽于巴洛克，并一同貫穿發(fā)展于每個(gè)時(shí)期，只是由于兩者不同的風(fēng)格宗旨與每個(gè)時(shí)期的藝術(shù)美學(xué)相應(yīng)或相悖從而替換著占據(jù)主導(dǎo)地位。這兩個(gè)主要的管弦樂(lè)法風(fēng)格不僅在歷史中并存，在具體作曲家的創(chuàng)作中也共同存在，只是應(yīng)著各作曲家的美學(xué)觀(guān)點(diǎn)而顯示出主導(dǎo)的一方。因此，對(duì)于18-19世紀(jì)管弦樂(lè)法“素描”風(fēng)格的研究不僅有助于我們確立“素描”風(fēng)格在整個(gè)管弦樂(lè)法發(fā)展史中的地位及其對(duì)于彩繪風(fēng)格的影響，以及這兩個(gè)主要風(fēng)格在整個(gè)管弦樂(lè)法發(fā)展史中的相互作用有所了解，更有助于我們對(duì)二十世紀(jì)作曲家們所重新省視的簡(jiǎn)約音響及其理念做進(jìn)一步理解與實(shí)踐。 筆者首先分述18-19世紀(jì)管弦樂(lè)法素描風(fēng)格發(fā)展所經(jīng)歷的三個(gè)階段：萌芽—
[Abstract]:On the basis of discussing the definition of the style of orchestral music, the research method of the style of orchestral method, and defining the two main styles in the history of the development of orchestral music, the sketch style and the color painting style,The background of the development of the orchestral sketch style in the 18-19 century, the evolution of the concept, the technique, and the interaction between it and the color painting style were traced back to the origination flow.The important position in the history of the development of orchestral music is also demonstrated.The author takes the 18-19 century orchestral sketch style as the object of study, mainly has the following two points:First, since the embryonic form of the 18th century band has just formed, the development of the instrument's own playing techniques, timbre performance, as well as the composition of the various possibilities and performance of the 18-19 century composers have become the goal of the efforts.At the same time, the mature use and satisfactory power of the harmony system during the classical period shifted the unceasing appeal of composers to an orchestral method that had just become an independent composition technique.How to establish real timbre in orchestra works has become a new problem for them.In the whole 18~ 19th century, the development of orchestral method solved the most basic problems for the colorful and diverse instrumental works of the 20th century, and laid a solid foundation for the creation of orchestral works in this century and beyond.Therefore, the study of the 18-19 th century orchestral method will reveal the characteristics and development clues of the Orchestra in this important period.Second, the sketch style is not, as most people think, the embryonic form of the color painting style, both sprout at the same time in Baroque, and develop through every period together,Only because the two different styles and purposes and each period of art aesthetics corresponding or contradictory to replace the dominant position.These two major orchestral styles not only coexist in history, but also exist in the creation of concrete composers.Therefore, the study of the "sketch" style of the 18-19 century orchestral method is not only helpful for us to establish the position of the "sketch" style in the whole history of the development of the orchestral method and its influence on the painting style.The understanding of the interaction of these two styles in the whole history of orchestral law is helpful for us to further understand and practice the minimalist sound and its ideas that composers reconsidered in the 20th century.The author first describes three stages of the development of the 18-19 th century orchestral sketch style: budding-
【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】：2006
【分類(lèi)號(hào)】：J614

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 鋰洋;沃爾特.辟斯頓《三首新英格蘭素描》音樂(lè)發(fā)展動(dòng)力與結(jié)構(gòu)研究[D];西南大學(xué);2012年

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