發(fā)布時(shí)間：2018-03-02 21:51

  本文選題：圖畫展覽會(huì)　切入點(diǎn)：編配　出處：《西安音樂學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：《圖畫展覽會(huì)》原是十九世紀(jì)俄羅斯著名作曲家穆索爾斯基的一首鋼琴組曲,完成于1874年。這部作品的創(chuàng)作動(dòng)機(jī)來源于已逝世好友哈特曼畫展中的十幅畫,穆索爾斯基將這十幅完全沒有關(guān)聯(lián)的畫用一個(gè)稱之為“漫步”的主題連接起來,從而展現(xiàn)給大家一個(gè)賦予感情變化充滿個(gè)性的音樂畫廊。寫作上的這個(gè)獨(dú)特構(gòu)思和大膽創(chuàng)新,使得這首作品后來深受歡迎,也是現(xiàn)存改編版本最多的一首曲子,而最著名的便是法國作曲家拉威爾改編的管弦樂版本。拉威爾用他豐富、新穎、獨(dú)特的配器手法使這首作品的音樂表現(xiàn)力更加絢麗多彩,吸引更多的聽眾。拉威爾豐富而獨(dú)具特點(diǎn)的配器手法也成為學(xué)者廣泛研究學(xué)習(xí)的重點(diǎn)。該論文就是選用拉威爾改編的管弦樂版本的《圖畫展覽會(huì)》為研究對(duì)象,主要論述從鋼琴到樂隊(duì),整個(gè)編配過程的樂隊(duì)思維、樂隊(duì)處理,從最初結(jié)構(gòu)劃分在樂隊(duì)中的體現(xiàn)到鋼琴織體形態(tài)的樂隊(duì)化,結(jié)合書上理論進(jìn)行詳細(xì)說明,是我們學(xué)習(xí)配器和實(shí)踐的重要步驟。該論文由緒論、作曲家生平簡(jiǎn)介和創(chuàng)作風(fēng)格、鋼琴到樂隊(duì),“配器”思維的體現(xiàn)、結(jié)語四部分組成,以“配器”過程的思維邏輯分析為寫作的重點(diǎn)。其重點(diǎn)在第二章的“配器”思維的體現(xiàn)。對(duì)學(xué)習(xí)和掌握配器技法尤為重要。結(jié)語部分是該論文研究成果的總結(jié)。
[Abstract]:The Picture Exhibition was originally a piano suite by Mussolski, a famous Russian composer in 19th century, and was completed on 1874. The creative motivation of this work was derived from ten paintings at the exhibition of dead friend Hartman. Mussolski connected the ten completely unrelated paintings with a theme called "stroll," thus presenting you with a musical gallery that gave you the personality of emotional change. This unique idea and bold innovation in writing. It became the most popular piece of music in existence, and the most famous was the orchestral version of the French composer Ravel, who was rich and novel. The unique orchestration makes the musical expression of this work more colorful, To attract more listeners. Ravel's rich and unique orchestration techniques have also become the focus of extensive research. This paper is based on Ravel's Orchestra version of Picture Exhibition. From piano to band, the whole arrangement process of band thinking, band processing, from the initial structure of the band in the band to the piano texture form of the band, combined with the book theory to explain in detail, It is an important step in our study of orchestration and practice. The paper is composed of four parts: introduction, introduction of the composer's life and style of creation, piano to band, reflection of "orchestration" thinking, and conclusion. This paper focuses on the logical analysis of the process of "orchestration", which focuses on the reflection of "orchestration" thinking in Chapter 2, which is particularly important for learning and mastering the orchestration techniques. The conclusion is a summary of the research results of this paper.
【學(xué)位授予單位】：西安音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J614.4

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本文編號(hào)：1558244