本文關(guān)鍵詞： 印象主義 德彪西 《意象集》 和聲 調(diào)式調(diào)性 曲式結(jié)構(gòu)　出處：《吉林藝術(shù)學院》2016年碩士論文　論文類型：學位論文

【摘要】：20世紀音樂可以說已經(jīng)進入了一個多元化現(xiàn)代音樂的發(fā)展階段,各種新思潮和新技法潛移默化地影響著這一階段作曲家們的創(chuàng)作。他們打破了以往傳統(tǒng)的和聲和調(diào)性觀念,和聲不再注重其功能性,調(diào)性也不再是傳統(tǒng)大小調(diào)的布局,配器方面也在不斷變化。在這一進程中,印象主義風格是介于19世紀浪漫主義與20世紀現(xiàn)代音樂之間的重要發(fā)展階段。德彪西是印象派音樂中首當其沖居于領(lǐng)袖地位的人物。印象主義追求的是音樂的色彩性,通過和聲、調(diào)性、旋律、節(jié)奏以及音色等為音樂營造出某種氣氛。在和聲上,作曲家減弱和弦的功能性,增強其色彩性,并且運用各種和弦的不同結(jié)構(gòu)(如大、小、增、減和弦、七和弦、九和弦)、和弦音的不同位置(原位和轉(zhuǎn)位)以及排列方法(密集排列、開放排列或不同的重復法),有時將和弦置于不同音區(qū)使其產(chǎn)生不同的音響效果,也就是色彩上的變化。廣泛地運用色彩性和弦,如高疊和弦、平行和弦、全音階和弦等,此外,還運用持續(xù)音和音域跨度較大的和弦,時而在這些和弦中加入附加音,使其更具有印象主義風格。同時,通過調(diào)式調(diào)性增添音樂的色彩,例如,大量運用全音階、中古調(diào)式以及具有東方色彩的五聲調(diào)式等。通過以上手段,使印象主義音樂色彩不像古典、浪漫時期音樂那樣黑白分明,而是憑借新的作曲技法和手段細致地表現(xiàn)出明暗交替的微妙變化,這也就是印象主義音樂的一大特點及風格。在德彪西一生的音樂創(chuàng)作中,鋼琴音樂占據(jù)重要的地位,它以獨特的表現(xiàn)內(nèi)容和藝術(shù)創(chuàng)作手法成為傳世的經(jīng)典,將作曲家的印象主義音樂風格得以完美呈現(xiàn)。他最主要的兩部《意象集》是鋼琴音樂作品中的經(jīng)典之作,因此,本文通過對德彪西的這兩部作品的分析和研究,去了解德彪西,同時去感受印象主義音樂,去探究音樂歷史的變遷。印象主義音樂的影響是深遠的,德彪西的貢獻是毋庸置疑的,印象派的歷史雖然短暫,但印象主義音樂形成的體系是偉大的,帶給后輩創(chuàng)作者的影響是不容忽視的,它為20世紀音樂開創(chuàng)了新元素。
[Abstract]:In 20th century, music could be said to have entered a stage of development of pluralistic modern music, in which various new trends of thought and new techniques had a subtle influence on the composers' creation. They broke with the traditional concepts of harmony and tonality. Harmony no longer focuses on its functionality, tonality is no longer the layout of traditional tunes, and orchestration is constantly changing. Impressionism style is an important stage between romanticism in 19th century and modern music in 20th century. Debussy is the leading figure in Impressionist music. Impressionism pursues the color of music. Creating an atmosphere for music through harmony, tonality, melody, rhythm, and timbre. In harmony, the composer weakens the functionality of the chord, enhances its color, and uses different structures of the chords (such as large, small, increased, etc.). Subtractive chords, seven chords, nine chords, different positions of chord sounds (in situ and translocation) and arrangement methods (dense arrangement, open arrangement or different repetition methods), sometimes placing the chords in different sound areas to produce different sound effects, That is, color changes. Color chords are widely used, such as high-fold chords, parallel chords, full-scale chords, etc., in addition to persistent and long-span chords, which are sometimes added to these chords, To make it more impressionistic. At the same time, to add color to music through the tonality of the tone, for example, the extensive use of the full scale, the medieval tone, and the five-tone style with oriental color, etc. Through the above means, So that Impressionist music colors are not as black and white as classical, romantic music, but with the new composition techniques and means meticulously show the subtle changes of light and dark alternating. This is one of the major characteristics and styles of Impressionist music. In Debussy's music creation, piano music occupies an important position. The composer's Impressionist music style can be presented perfectly. His two most important works, Image Collection, are classic works in piano music. Therefore, this paper analyzes and studies Debussy's two works to understand Debussy. At the same time, to feel Impressionist music, to explore the changes in music history. The influence of Impressionist music is profound, Debussy's contribution is beyond doubt, the Impressionist history is short, However, the system formed by Impressionist music is great, and its influence on the creators of later generations can not be ignored. It created a new element for music in 20th century.
【學位授予單位】：吉林藝術(shù)學院
【學位級別】：碩士
【學位授予年份】：2016
【分類號】：J624.1
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本文編號：1538959