發(fā)布時(shí)間：2018-04-03 21:18

  本文選題：布克斯特胡德　切入點(diǎn)：管風(fēng)琴賦格套曲　出處：《中央音樂(lè)學(xué)院》2016年碩士論文

【摘要】：布克斯特胡德(Dietrich Buxtehude,1637-1707)是德國(guó)、丹麥著名的音樂(lè)家,并以作曲家、管風(fēng)琴家的身份而知名,是J.S.巴赫之前最重要的作曲家之一。他創(chuàng)作了許多經(jīng)典的宗教神劇和重奏、室內(nèi)樂(lè)作品,而最為重要的是管風(fēng)琴和其他鍵盤(pán)類作品的創(chuàng)作。布克斯特胡德是17世紀(jì)末成就最高的管風(fēng)琴作曲家,是歐洲巴洛克時(shí)期,在海因里希·許茨和巴赫之間最偉大的鍵盤(pán)藝術(shù)家。布克斯特胡德的管風(fēng)琴作品幾乎囊括了當(dāng)時(shí)可見(jiàn)的所有體裁形式,代表了同時(shí)期最高水準(zhǔn)的創(chuàng)作成果,至今仍經(jīng)常在教堂和音樂(lè)會(huì)上演奏。這些作品很大部分明確標(biāo)明需要使用踏板,典型的北德管風(fēng)琴有三排手鍵和一個(gè)獨(dú)立的踏板,尤其適于演奏復(fù)調(diào)類型的作品。19世紀(jì)中葉,隨著人們對(duì)巴洛克藝術(shù)的興趣不斷升溫,布克斯特胡德被“重新發(fā)現(xiàn)”,他的作品受到了演奏家與聽(tīng)眾們的青睞,被頻繁、大量的搬上舞臺(tái),但作為一位應(yīng)給予高度重視的巴洛克音樂(lè)家,對(duì)于其本人及其作品的研究幾乎可以用“匱乏”這個(gè)詞來(lái)描述。布克斯特胡德的19首“管風(fēng)琴賦格套曲”被認(rèn)為是其對(duì)17世紀(jì)鍵盤(pán)音樂(lè)最重要的貢獻(xiàn),作品中所運(yùn)用的作曲技法及體裁上的探索,體現(xiàn)了巴洛克時(shí)期復(fù)調(diào)技術(shù)的高度發(fā)展。本文對(duì)其現(xiàn)存全部此類作品進(jìn)行了細(xì)致的技術(shù)分析,梳理了“前奏曲與賦格”這一重要體裁在布克斯特胡德作品中的創(chuàng)作特征。在體裁和技術(shù)方面,這些賦格套曲承繼了前人,以“托卡塔”為代表的“主、復(fù)調(diào)交替”類作品中的精華,在簡(jiǎn)單“模仿”的基礎(chǔ)上建立“主題、答題、對(duì)題”的基本調(diào)性規(guī)律及對(duì)位規(guī)則,進(jìn)行了“間插段”、“緊接段”、“連接段”寫(xiě)作的早期嘗試,不論是在曲式結(jié)構(gòu)、和聲技術(shù)還是復(fù)調(diào)技術(shù)領(lǐng)域,都初步確立了“賦格原則”,在風(fēng)格語(yǔ)匯上與早期經(jīng)文歌具有淵源關(guān)系,在調(diào)式和聲等方面有了很大的變化和發(fā)展,為后世以《巴赫平均律前奏曲與賦格》為代表的這種復(fù)調(diào)體裁做出了積極的探索與實(shí)踐,具有重要的歷史意義。
[Abstract]:Buxtehudean (1637-1707) is a famous German and Danish musician and is known as a composer and organ maker, J. S.One of the most important composers before Bach.He created many classic religious operas and recitals, chamber music, and most importantly organ and other keyboard works.Boxstroud was the most accomplished organ composer at the end of the 17 th century and the greatest keyboard artist between Heinrich Schutz and Bach during the Baroque period in Europe.Buxehud's organ works, which include almost all the styles that were visible at the time, represent the highest standards of creation of the same period and are still performed in churches and concerts.A large part of these works clearly indicate the need to use pedals, and the typical North German organ has three rows of handkeys and a separate pedal, particularly suitable for playing polyphonic works in the mid-19th century.With the growing interest in baroque art, Buxter Hood was "rediscovered," and his work was favored by players and listeners, frequently and in large numbers.But as a Baroque musician who deserves great attention, the study of himself and his works can almost be described by the word "scarcity".Buxter Hood's 19 "Organ Fugue Suite" is regarded as his most important contribution to the keyboard music in the 17th century. The exploration of composition techniques and genre used in his works reflects the high development of polyphony techniques in the Baroque period.This paper makes a detailed technical analysis of all his existing works, combing the characteristics of the important genre of prelude and fugue in the works of Buxter Hood.In terms of genre and technology, these fugue genres are inherited from their predecessors. The essence of "master, polyphonic alternation", represented by "Tokata", is established on the basis of simple "imitation".The basic tonality and alignment rules of the title "interlaced paragraph", "immediate paragraph" and "connecting paragraph" are the early attempts of writing, whether in the field of musical structure, harmony technology or polyphonic technology.Both have preliminarily established the "Fugue principle", which has a relationship with the early scripture songs in terms of style and vocabulary, and has greatly changed and developed in the aspects of tone harmony and so on.It is of great historical significance for the exploration and practice of this polyphonic genre represented by Bach's Prelude of the mean Law and Fugue.
【學(xué)位授予單位】：中央音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：J624.2

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