發(fā)布時(shí)間：2018-02-03 06:58

  本文關(guān)鍵詞： 阿諾德·勛伯格 調(diào)性音樂(lè) 自由無(wú)調(diào)性音樂(lè) 無(wú)調(diào)性 十二音音樂(lè) 音高材料 結(jié)構(gòu)形態(tài)　出處：《上海音樂(lè)學(xué)院》2016年博士論文　論文類(lèi)型：學(xué)位論文

【摘要】：作為20世紀(jì)西方最重要的作曲家之一,阿諾德·勛伯格(Arnold Schoenberg,1874-1951)無(wú)疑是值得被人們關(guān)注的,其貢獻(xiàn)和地位也是不容忽視的。他出生在歐洲浪漫主義中后期,成長(zhǎng)于歐洲音樂(lè)傳統(tǒng)發(fā)生變化并向現(xiàn)代音樂(lè)風(fēng)格演進(jìn)的二十世紀(jì)上半葉。作為德奧音樂(lè)傳統(tǒng)的忠實(shí)捍衛(wèi)者,他一生的音樂(lè)創(chuàng)作、音樂(lè)理論研究、音樂(lè)教學(xué)都沒(méi)有脫離德奧音樂(lè)前輩們對(duì)他的影響,是一位扎根于“傳統(tǒng)”的現(xiàn)代音樂(lè)作曲家;作為新維也納樂(lè)派的代表人物,他努力在音樂(lè)語(yǔ)言上進(jìn)行革新、演進(jìn),以他獨(dú)特的創(chuàng)造精神和不懈的努力,突破了功能調(diào)性長(zhǎng)久以來(lái)的束縛力,使其進(jìn)入到自由無(wú)調(diào)性音樂(lè)時(shí)期,在不斷地探索和思考中,一步步完善了十二音作曲法,重建了音高組織體系,從而對(duì)整個(gè)二十世紀(jì)西方音樂(lè)的發(fā)展歷程產(chǎn)生了巨大的影響。勛伯格的音樂(lè)既與傳統(tǒng)有著非常密切的關(guān)系,同時(shí)又有很多新的思想、新的技法,在傳統(tǒng)和現(xiàn)代之間架起了一座非常好的橋梁。他不同于大多數(shù)作曲家,作為理論家的他,其深厚的理論學(xué)養(yǎng)和學(xué)術(shù)建樹(shù),使他的音樂(lè)創(chuàng)作有著十分系統(tǒng)化、整體化的創(chuàng)作理念及其形式化程序,觀念與形式的完美結(jié)合,不僅提升了他音樂(lè)創(chuàng)作的藝術(shù)價(jià)值,同時(shí)也豐厚了其審美意義。本論文《勛伯格四部弦樂(lè)四重奏的音高材料和結(jié)構(gòu)形態(tài)研究》選擇勛伯格的四部弦樂(lè)四重奏作為研究對(duì)象,擬從弦樂(lè)四重奏這一經(jīng)典的體裁出發(fā),通過(guò)對(duì)四部弦樂(lè)四重奏的音樂(lè)文本進(jìn)行較為全面的音樂(lè)形態(tài)、作曲技術(shù)的個(gè)案分析、類(lèi)比研究,來(lái)探求該作品在音高材料和結(jié)構(gòu)形態(tài)等方面的個(gè)性化處理及一致性鏈條。由于這四部弦樂(lè)四重奏分別置于作曲家前后兩個(gè)重要的創(chuàng)作時(shí)期,即“調(diào)性音樂(lè)時(shí)期”和“十二音音樂(lè)時(shí)期”,而在作曲家的第二創(chuàng)作時(shí)期,即“自由無(wú)調(diào)性音樂(lè)時(shí)期”內(nèi),不僅僅沒(méi)有進(jìn)行弦樂(lè)四重奏的創(chuàng)作,甚至完全沒(méi)有涉及到任何弦樂(lè)體裁的創(chuàng)作,鑒于這些問(wèn)題,在本文的研究過(guò)程中,還將把作品置于特定的歷史時(shí)期來(lái)進(jìn)行分析考證,以期揭示出勛伯格個(gè)性化的音樂(lè)語(yǔ)言和創(chuàng)作風(fēng)格的演變過(guò)程,明確這四部弦樂(lè)四重奏在作曲家整個(gè)創(chuàng)作歷程中的地位和意義。同時(shí),本文還將從美學(xué)、史學(xué)等角度對(duì)作曲家的結(jié)構(gòu)思維以及在此基礎(chǔ)上對(duì)音樂(lè)各結(jié)構(gòu)元素的邏輯關(guān)系進(jìn)行梳理、歸納、提升、總結(jié),在觀念和形式上對(duì)這四部作品所蘊(yùn)含的更深的內(nèi)涵、意蘊(yùn)進(jìn)行更深層次的探討。本論文由緒論、正文及結(jié)語(yǔ)組成。在緒論中,筆者首先對(duì)勛伯格創(chuàng)作的歷史背景、論文選題的緣起及其意義進(jìn)行簡(jiǎn)要論述,并對(duì)該論題在國(guó)內(nèi)外的研究現(xiàn)狀進(jìn)行概括性梳理。正文部分共六章。前三章主要對(duì)勛伯格四部弦樂(lè)四重奏的音高材料及其組織方式進(jìn)行微觀分析,內(nèi)容涉及橫向音高材料、縱向音高材料、音高邏輯組織方式等方面。第四章和第五章主要對(duì)勛伯格四部弦樂(lè)四重奏的結(jié)構(gòu)形態(tài)進(jìn)行宏觀論述,著重討論四部弦樂(lè)四重奏在結(jié)構(gòu)形式上的繼承與發(fā)揚(yáng)、在結(jié)構(gòu)構(gòu)建上的主要特征。第六章則將聚焦點(diǎn)集中于四部弦樂(lè)四重奏在音樂(lè)風(fēng)格與美學(xué)思想上的轉(zhuǎn)變。各章節(jié)逐層推進(jìn)、相互比照,共同闡述了勛伯格四部弦樂(lè)四重奏在音高材料和結(jié)構(gòu)形態(tài)上的本質(zhì)特點(diǎn),從而較為全面地解讀勛伯格音樂(lè)觀念與形式的演進(jìn)及其在音樂(lè)長(zhǎng)河中的藝術(shù)價(jià)值。論文最后就勛伯格創(chuàng)作技法的發(fā)展與演進(jìn)以及對(duì)勛伯格弦樂(lè)四重奏的整體評(píng)價(jià)進(jìn)行總結(jié)性的說(shuō)明,并提出本論文對(duì)勛伯格弦樂(lè)四重奏研究的貢獻(xiàn)與未來(lái)可能的延伸。
[Abstract]:One of the most important western composers as of twentieth Century, Arnold Schonberg (Arnold Schoenberg, 1874-1951) is undoubtedly worthy of attention, its contribution and status can not be ignored. He was born in the late European Romanticism, grew up in the European music traditions to modern music style changes and the evolution of the first half of twentieth Century as the loyal. Defenders of German and Austrian music tradition, his music creation, music theory, music teaching out of German and Austrian music predecessors on his influence, is rooted in a "traditional" modern music composer; as a representative of the new Vienna school, he tried to innovate in music language evolution, with his unique the creative spirit and unremitting efforts, to break the shackles of force functional tonality for long, make it into free atonal music, constantly. Cable and thinking, step by step to improve the twelve tone composition method, reconstruction of the pitch organization system, has great influence to the development process of the twentieth Century western music. Schoenberg's music is traditional and has a very close relationship, and at the same time, there are a lot of new ideas, new techniques, in the traditional the modern and has built a very good bridge. He is different from most composers as a theorist, he, his profound theoretical knowledge and academic achievements, his music has a very systematic, holistic concept of creation and its formal procedures, perfect combination of concept and form, not only improved his music creation the value of art, but also enrich the aesthetic significance. This thesis < Schoenberg four string quartets of pitch materials and Structure Research > select Schoenberg's Four String Quartet as the research object, Starting from the classical genre String Quartet, carries on a more comprehensive form of music through music text on four string quartets, case analysis, composition analogy research, personalized treatment and to explore the consistency of the chain works in the pitch structure and material shape. Because after these four strings Quartet composers were placed in the two important period of creation, namely "tonal music period" and "twelve tone music period", and in second the composer's creative period, namely "free atonal music period", not only for String Quartet creation, or even completely not related to any string genre creation. In view of these problems, in the course of the study, will also work under a specific historical period to carry on the analysis and research, in order to reveal the Schoenberg language and a personalized music The evolution of style, clear the four string quartets composer status and significance in the entire writing process. At the same time, this article will be from the aesthetics, carding, induction, promotion, summarize the logic of the relationship between the structural elements of the music history of the composer's thinking angle structure and on this basis, connotation which of these four works in concept and form a deeper connotation, deeper study. This paper consists of preface, text and conclusion. In the introduction, the author of the creation of Schoenberg's historical background, origin and significance of the topic are briefly discussed, and a general review of research status of this topic at home and abroad. The text includes six chapters. The first three chapters on the microscopic analysis of Schoenberg's Four String Quartet pitch materials and their organization, content involves transverse pitch materials, longitudinal Pitch materials, pitch logical organization. The fourth chapter and the fifth chapter is mainly the structure of Schoenberg's Four String Quartet macro discussion, focuses on and develop the four string quartets inherited in the form of structure, the main features in the structure of the transition. The sixth chapter will focus on the Four String Quartet in music style and aesthetic ideas. Each chapter of the layer to promote, in comparison, expounds the essence of common features of Schoenberg four string quartets in pitch materials and structure, so as to comprehensively understand the evolution concept and form the reading of Schoenberg music and its artistic value in the music in the river. The finally, summary of the description of the development and evolution of Schoenberg creation techniques and overall evaluation of the Schoenberg String Quartet, and put forward the Schoenberg string four Sonata The contribution of the study and the possible extension of the future.

【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】：2016
【分類(lèi)號(hào)】：J614
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本文編號(hào)：1486749