利蓋蒂結(jié)構(gòu)思維研究
發(fā)布時間：2018-11-04 11:44
【摘要】：本論文選擇西方當(dāng)今享有盛名的一位仍然健在的作曲家喬治·利蓋蒂(Gy(?)rgy Ligeti,1923-)的音樂創(chuàng)作作為研究對象,具體內(nèi)容涉及其結(jié)構(gòu)思維觀念的形成及其表現(xiàn)形式。 作為20世紀(jì)西方最重要的作曲家之一,利蓋蒂無疑是值得人們特別關(guān)注的。這位出生于匈牙利的奧地利籍作曲家自上世紀(jì)50年代中期以來,一直以其大膽的創(chuàng)作理念和獨(dú)特的技術(shù)手法影響著西方現(xiàn)代音樂創(chuàng)作的發(fā)展。從大型管弦樂作品《大氣》(Atmosphères)中的微復(fù)調(diào)到為100只節(jié)拍器而作的《交響詩》(Poème symphonique)中的機(jī)械性節(jié)奏運(yùn)動,從系列鋼琴練習(xí)曲中復(fù)雜的交錯節(jié)奏結(jié)構(gòu)到《小提琴協(xié)奏曲》中超越平均律的實(shí)踐,無一不體現(xiàn)出典型的“利蓋蒂風(fēng)格”。 本文之所以選擇利蓋蒂的結(jié)構(gòu)思維作為研究對象,是因為結(jié)構(gòu)思維構(gòu)成了利蓋蒂音樂創(chuàng)作中的一個核心問題。一方面,在利蓋蒂的創(chuàng)作中始終表現(xiàn)出不同結(jié)構(gòu)思維方式對音樂發(fā)展的主導(dǎo)作用,另一方面,一些獨(dú)特的技術(shù)手段都是圍繞著不同的結(jié)構(gòu)思維而產(chǎn)生的。結(jié)構(gòu)思維是作曲家對如何構(gòu)成一首樂曲時所作的全面考慮,它包括對音樂延續(xù)過程方式的選擇和對音樂最終結(jié)果形式的設(shè)定,而且這種思維的內(nèi)容還應(yīng)該能轉(zhuǎn)化為相應(yīng)的技術(shù)手段,并在音響上產(chǎn)生出與此相一致的效果。綜觀利蓋蒂的創(chuàng)作,可以發(fā)現(xiàn)他的作品即具有在結(jié)構(gòu)的形成過程與結(jié)果上常�！俺鋈艘饬稀钡奶幚�,但又總是充滿著樸素的藝術(shù)價值,即既能表現(xiàn)出在樂曲的組織過程和結(jié)構(gòu)形式上的精雕細(xì)琢、又能表達(dá)出“一目了然”的情感訴求,更為重要的是其音響雖常使人們的聽覺神經(jīng)感到刺激,但卻經(jīng)得起反復(fù)聆聽。換句話說,他的作品常常能在構(gòu)思的新穎、音響的獨(dú)特以及給人以良好的聽覺體驗這三者之間找到最佳的結(jié)合點(diǎn),而這一點(diǎn)恰恰是許多現(xiàn)代作曲家常常很難解決的問題。 利蓋蒂結(jié)構(gòu)思維的一個突出特點(diǎn)是它的創(chuàng)新性,這種創(chuàng)新思考來自于他對音樂語言“原創(chuàng)性”價值的強(qiáng)烈追求,和一個藝術(shù)家崇高的使命感。從利蓋蒂所創(chuàng)作的作品來看,可以說他在每一個作品中都力圖在音樂思維方式和寫作技法兩方面向前邁進(jìn)一步,他反對重復(fù)別人或重復(fù)自己走過的道路。他曾經(jīng)說:“自貝多芬以來,創(chuàng)新在音樂中就變得重要了�！薄２⑶艺J(rèn)為,到了20世紀(jì),作曲家們更應(yīng)該象當(dāng)年的貝多芬、德彪西那樣,要敢于走創(chuàng)新的道路,因為在今天的“在藝術(shù)創(chuàng)作中,原創(chuàng)性和新穎發(fā)揮著極其重要的作用�！� 為了實(shí)現(xiàn)音樂語言上的“原創(chuàng)性”,利蓋蒂不僅從音樂本身尋找突破口,而且還積極從音樂以外的其他學(xué)科中挖掘可以利用的創(chuàng)新因素。自20世紀(jì)50年代以來,利蓋蒂就一直從繪畫、文學(xué)以及哲學(xué)中不斷地借鑒不同的結(jié)構(gòu)思維方式,并把它們與音樂作品中的結(jié)構(gòu)思維方式結(jié)合起來,從而拓展出了音樂對“幻覺空間”和“靜態(tài)運(yùn)動”的表現(xiàn)可能性。在音樂技法本身,利蓋蒂同樣在不斷地尋找突破口,微復(fù)調(diào)、機(jī)械性節(jié)奏以及以突出音色為主的整體音響運(yùn)動等技術(shù)手法,就是被利蓋蒂從一些基本的技術(shù)中提煉出來的,并使它們轉(zhuǎn)變成為特殊的技術(shù),承擔(dān)起了控制音樂作品結(jié)構(gòu)的重要作用。 選擇利蓋蒂的結(jié)構(gòu)思維作為研究重點(diǎn),其目的就是試圖對他的音樂創(chuàng)作從結(jié)構(gòu)觀念到結(jié)構(gòu)技法這兩個層面進(jìn)行全面的分析,從而解釋他在結(jié)構(gòu)過程和結(jié)構(gòu)形式上所采取的獨(dú)特做法。由于在利蓋蒂的音樂創(chuàng)作中,結(jié)構(gòu)思維已經(jīng)成為包含其創(chuàng)作內(nèi)容的重要概念,因此,抓住了結(jié)構(gòu)思維這個中心,就意味著抓住了研究利蓋蒂音樂創(chuàng)作的關(guān)鍵問題。 本論文研究的主要范圍包括:利蓋蒂結(jié)構(gòu)思維觀念的形成與發(fā)展、其作品中所運(yùn)用的主要結(jié)構(gòu)方法、作品的結(jié)構(gòu)形態(tài)特征、其結(jié)構(gòu)實(shí)踐對西方現(xiàn)代音樂創(chuàng)作發(fā)展的影響。所涉及的
[Abstract]:This paper chooses the music creation of the famous contemporary composer George Ligatiti (Gy (?) rgy Lititi (1923-) as the research object, and the content of this thesis is concerned with the formation and expression of its structural thinking concept. As one of the most important composers in the 20th century, Li Guti is undoubtedly the most important composer of the 20th century. The Austrian composer born in Hungary, who was born in Hungary since the mid-1950s, has been influencing the West with its bold creative ideas and unique techniques The development of modern music creation. From the micro-complex of large orchestral works (Atmosph Vres) to the mechanical rhythm movement in 100 metronome, the complex interlaced rhythm structure from the series of piano etudes to the Violin Concerto> In the practice of exceeding the average law, there is no typical "trunk>" Lichatti's sty. The purpose of this paper is to select the structural thinking of Legetti as the research object because of the structure thought. Dimensions constitute one of the key issues in the creation of Ligatiti's music. On the one hand, in the creation of Ligatiti, the leading role of different modes of thinking plays a leading role in the development of music, and on the other hand, some unique techniques The structure thinking is a comprehensive consideration by the composer when composing a piece of music, which includes the selection of the way of continuation of music and the setting of the final form of music. The content of thinking should also be transformed into the corresponding technology As a means, an effect consistent with this is produced on the sound. In view of the creation of Ligatiti, he can find that his work is a common 鈥渦nexpected鈥，
本文編號：2309728
[Abstract]:This paper chooses the music creation of the famous contemporary composer George Ligatiti (Gy (?) rgy Lititi (1923-) as the research object, and the content of this thesis is concerned with the formation and expression of its structural thinking concept. As one of the most important composers in the 20th century, Li Guti is undoubtedly the most important composer of the 20th century. The Austrian composer born in Hungary, who was born in Hungary since the mid-1950s, has been influencing the West with its bold creative ideas and unique techniques The development of modern music creation. From the micro-complex of large orchestral works (Atmosph Vres) to the mechanical rhythm movement in 100 metronome, the complex interlaced rhythm structure from the series of piano etudes to the Violin Concerto> In the practice of exceeding the average law, there is no typical "trunk>" Lichatti's sty. The purpose of this paper is to select the structural thinking of Legetti as the research object because of the structure thought. Dimensions constitute one of the key issues in the creation of Ligatiti's music. On the one hand, in the creation of Ligatiti, the leading role of different modes of thinking plays a leading role in the development of music, and on the other hand, some unique techniques The structure thinking is a comprehensive consideration by the composer when composing a piece of music, which includes the selection of the way of continuation of music and the setting of the final form of music. The content of thinking should also be transformed into the corresponding technology As a means, an effect consistent with this is produced on the sound. In view of the creation of Ligatiti, he can find that his work is a common 鈥渦nexpected鈥，
本文編號：2309728
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