周文中音樂作品“音高構(gòu)造法”研究
發(fā)布時(shí)間：2018-12-13 17:57
【摘要】：本文以周文中的音樂作品為研究對象,著重研究其音高構(gòu)造體系,諸如：核心音程、音級(jí)集合、和弦構(gòu)造、五聲調(diào)式、“可變調(diào)式”、“填白”音、織體模式,等等。作為音高構(gòu)造的重要元素,它們既是互相獨(dú)立的,又是相互關(guān)聯(lián)的整體。本文以調(diào)式因素作為主線,將其他因素串聯(lián)起來,對周文中音樂作品音高構(gòu)造方面進(jìn)行系統(tǒng)研究。 第一章引論部分通過大量文獻(xiàn)資料的分析與研究,將周文中的研究現(xiàn)狀做了簡要的評(píng)述,并在這個(gè)基礎(chǔ)上找到了本文研究的主要方向——對周文中音樂作品進(jìn)行技法研究以及技法自身的歷史邏輯,而非超越技法的音樂學(xué)研究。 第二章將周文中的第一個(gè)創(chuàng)作時(shí)期歸納為“五聲調(diào)式為主要控制力”。這個(gè)時(shí)期周文中往往直接引用中國民歌主題,或?qū)⒚窀柚黝}進(jìn)行變奏式發(fā)展,或者將五聲調(diào)式核心元素——大二度、小三度和純四度音程以及五聲性三音組、四音組等抽象出來,使得五聲調(diào)式作為音高體系的主要組織控制力,并因此創(chuàng)制了許多具有五聲性特征的疊置和弦,如純四、純五度疊置、綜合疊置、橫向旋律縱合化等。周文中這個(gè)階段的作品中,如詩、如畫的《花月》意境和細(xì)膩感人的《花落》音響,展現(xiàn)出一種帶有神秘色彩的柔婉如蘭的詩人氣質(zhì),這正是西方人所欣賞的東方風(fēng)情! 第三章重點(diǎn)研究周文中“可變調(diào)式”體系。該體系本質(zhì)上說也是“人工調(diào)式”,與梅西安、德彪西、巴托克等自創(chuàng)的人工調(diào)式本質(zhì)相通,但“可變調(diào)式”體系的數(shù)理邏輯來自于《易經(jīng)》——中華文化的源頭之一,這是其不同于其他技法人工調(diào)式的文化特征。這是一個(gè)自足的體系,自身也經(jīng)歷了從繁復(fù)復(fù)雜的填白體系的《飛草》,走向簡明的可有可無填白音的《韻》。 第四章主要研究周文中如何從極端個(gè)性化的語言體系重新融回到具有普遍意義的音樂世界中來。這個(gè)時(shí)期首先在《山濤》中打破自足的可變調(diào)式框框,把它們與集合處理手段相銜接,再在《云》走向12音半音化,完成與20世紀(jì)下半葉普遍使用的現(xiàn)代技法的對接,然而可變調(diào)式的自我邏輯,仍然保留完好,甚至讓這種個(gè)性在普遍接受的體系中更加完滿地展現(xiàn)出來。進(jìn)入21世紀(jì)的周文中,在《流泉》中將古往今來的創(chuàng)作技法融為一爐,真正做到超越技巧、丟開技巧而隨心所欲地控制音樂,達(dá)到真正的“樂由心生”的境界。 第五章研究周文中的創(chuàng)作理念和技法對20世紀(jì)末中國大陸音樂創(chuàng)作的影響,通過對“太極作曲系統(tǒng)”、“五行作曲法”等體系的簡要介紹,揭示了他們之間一脈相承的歷史邏輯。 最后的結(jié)論,西為“器”,中為“道”,中西合璧。
[Abstract]:Taking Chou Wen-Chung 's musical works as the research object, this paper focuses on the pitch structure, such as the core interval, the level set, the chord structure, the pentatonic structure, the variable tone, the white filling, the texture pattern, and so on. As important elements of pitch construction, they are both independent and interrelated as a whole. This paper studies the pitch structure of Chou Wen-Chung 's musical works in series with other factors as the main line. In the first chapter, through the analysis and research of a large amount of literature, the author makes a brief comment on the current situation of Chou Wen-Chung 's research. On this basis, the author finds out the main research direction of this thesis, that is, the study of Chou Wen-Chung 's musical works and the historical logic of the techniques themselves, rather than the musicological research that transcends the techniques. In the second chapter, Chou Wen-Chung 's first creative period is summed up as "five tone mode as the main control force." In this period, Chou Wen-Chung often directly quoted the theme of Chinese folk songs, or developed the theme of folk songs in a variety way, or took the key elements of the five-tone mode-big second, small third and pure four-degree intervals, as well as pentatonic trisyllabic groups. Four tone sets are abstracted to make pentatonic tone as the main organizational control force of pitch system, and therefore many superimposed chords with pentatonic characteristics have been created, such as pure four, pure five degree overlay, comprehensive overlay, transverse melody longitudinal alignment, and so on. Chou Wen-Chung in this stage of the works, such as poetry, such as the painting of the "Flower Moon" artistic conception and delicate and touching "Flower fall" sound, showing a mysterious color of soft and orchid poet temperament, this is the western appreciation of the Oriental amorous feelings! The third chapter focuses on Chou Wen-Chung 's variable mode system. In essence, the system is also "artificial modulation", which is similar to the self-created artificial mode essence of Mayan, Debussy and Bartok, but the mathematical logic of the "variable mode" system comes from the Book of changes, one of the sources of Chinese culture. This is different from other techniques of artificial mode of cultural characteristics. This is a self-sufficient system, and has experienced from the complex and complex filling system of "fly grass" to the concise "rhyme" of the white sound. The fourth chapter mainly studies how Chou Wen-Chung reintegrates from the extremely individualized language system to the universal music world. In this period, the self-contained variable mode frame was first broken in Mountain Tao and connected with the means of collective processing, and then, in "Cloud", it moved towards a 12-tone semitone, so as to complete the docking with the modern techniques commonly used in the second half of the 20th century. Yet the self-logic of the variable mode remains intact, even making the personality more fully manifest in a universally accepted system. Chou Wen-Chung, entering the 21st century, melts the techniques of creation from ancient to present into a furnace, truly surmounts the technique, discards the skill and controls the music at will, so as to reach the true realm of "music born from the heart". The fifth chapter studies the influence of Chou Wen-Chung 's creative ideas and techniques on the music creation in mainland China at the end of the 20th century. Through a brief introduction to the system of "Taiji composing system" and "five elements composing method", etc. It reveals the historical logic of their lineage. The final conclusion is that the west is the "instrument", the middle is the "Tao", and the Chinese and the western are combined.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2013
【分類號(hào)】：J614
本文編號(hào)：2376971
[Abstract]:Taking Chou Wen-Chung 's musical works as the research object, this paper focuses on the pitch structure, such as the core interval, the level set, the chord structure, the pentatonic structure, the variable tone, the white filling, the texture pattern, and so on. As important elements of pitch construction, they are both independent and interrelated as a whole. This paper studies the pitch structure of Chou Wen-Chung 's musical works in series with other factors as the main line. In the first chapter, through the analysis and research of a large amount of literature, the author makes a brief comment on the current situation of Chou Wen-Chung 's research. On this basis, the author finds out the main research direction of this thesis, that is, the study of Chou Wen-Chung 's musical works and the historical logic of the techniques themselves, rather than the musicological research that transcends the techniques. In the second chapter, Chou Wen-Chung 's first creative period is summed up as "five tone mode as the main control force." In this period, Chou Wen-Chung often directly quoted the theme of Chinese folk songs, or developed the theme of folk songs in a variety way, or took the key elements of the five-tone mode-big second, small third and pure four-degree intervals, as well as pentatonic trisyllabic groups. Four tone sets are abstracted to make pentatonic tone as the main organizational control force of pitch system, and therefore many superimposed chords with pentatonic characteristics have been created, such as pure four, pure five degree overlay, comprehensive overlay, transverse melody longitudinal alignment, and so on. Chou Wen-Chung in this stage of the works, such as poetry, such as the painting of the "Flower Moon" artistic conception and delicate and touching "Flower fall" sound, showing a mysterious color of soft and orchid poet temperament, this is the western appreciation of the Oriental amorous feelings! The third chapter focuses on Chou Wen-Chung 's variable mode system. In essence, the system is also "artificial modulation", which is similar to the self-created artificial mode essence of Mayan, Debussy and Bartok, but the mathematical logic of the "variable mode" system comes from the Book of changes, one of the sources of Chinese culture. This is different from other techniques of artificial mode of cultural characteristics. This is a self-sufficient system, and has experienced from the complex and complex filling system of "fly grass" to the concise "rhyme" of the white sound. The fourth chapter mainly studies how Chou Wen-Chung reintegrates from the extremely individualized language system to the universal music world. In this period, the self-contained variable mode frame was first broken in Mountain Tao and connected with the means of collective processing, and then, in "Cloud", it moved towards a 12-tone semitone, so as to complete the docking with the modern techniques commonly used in the second half of the 20th century. Yet the self-logic of the variable mode remains intact, even making the personality more fully manifest in a universally accepted system. Chou Wen-Chung, entering the 21st century, melts the techniques of creation from ancient to present into a furnace, truly surmounts the technique, discards the skill and controls the music at will, so as to reach the true realm of "music born from the heart". The fifth chapter studies the influence of Chou Wen-Chung 's creative ideas and techniques on the music creation in mainland China at the end of the 20th century. Through a brief introduction to the system of "Taiji composing system" and "five elements composing method", etc. It reveals the historical logic of their lineage. The final conclusion is that the west is the "instrument", the middle is the "Tao", and the Chinese and the western are combined.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2013
【分類號(hào)】：J614
【參考文獻(xiàn)】
相關(guān)期刊論文 前2條
1 陳鋼;早春二月柳色新——記周文中教授與美中文化交流[J];人民音樂;1979年Z1期
2 Ｆ·Ｆ·費(fèi)利希阿諾,畢明輝;周文中的早期創(chuàng)作[J];中央音樂學(xué)院學(xué)報(bào);1998年03期
，本文編號(hào)：2376971
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