本文選題：澤納基斯 + 馬爾可夫鏈作曲��； 參考：《中央音樂學(xué)院》2017年博士論文

【摘要】：本文重點研究希臘裔法國籍作曲家澤納基斯的馬爾可夫鏈作曲技術(shù)理論與方法,通過三部作品分析進行論述。同時對澤納基斯學(xué)習(xí)音樂的經(jīng)歷、創(chuàng)作理念進行研究、對澤納基斯創(chuàng)作思路進行深入剖析,并簡要論述了概率與馬爾可夫鏈原理與音樂創(chuàng)作、分析之間的關(guān)系。澤納基斯作為一位集工程師、建筑師、哲學(xué)家、思想家于一身的作曲家,他的創(chuàng)造基于他將藝術(shù)與科學(xué)相融合的理念。他運用數(shù)學(xué)原理馬爾可夫鏈作為作曲理論基礎(chǔ)與技術(shù)元素,是以假設(shè)聲音作為粒子作為前提,這些聲音粒子具有音高頻率、力度范圍與密度特征。他運用的重要音樂材料是由一定數(shù)量的“聲音粒子“”組成的“音屏”或者由音樂織體構(gòu)成的“織體屏”,同時運用馬爾可夫鏈的“平穩(wěn)階段”與“波動階段”對作品進行宏觀與微觀結(jié)構(gòu)的控制。在宏觀結(jié)構(gòu)設(shè)計中,平穩(wěn)階段與波動階段的“音屏”或“織體屏”的運用特點,是音樂段落生成的根據(jù),微觀結(jié)構(gòu)的構(gòu)建過程是通過運用馬爾可夫鏈原理進行詳細的運算,計算出音屏或織體屏的轉(zhuǎn)換概率,從而確定音屏或織體屏的轉(zhuǎn)換與演變的順序,對音樂作品進行微觀結(jié)構(gòu)的控制。論文對澤納基斯的馬爾可夫鏈原理作曲的三個作品的分析分別側(cè)重在不同角度:作品《類比A》分析側(cè)重于馬爾可夫鏈運算過程,確定平穩(wěn)階段與波動階段的音屏轉(zhuǎn)換與演變;《類比B》側(cè)重聲音粒子的合成;《希爾莫斯》側(cè)重織體特征所構(gòu)建的建筑形態(tài)以及滑奏模式分析。本文研究澤納基斯對客觀聲音的組織方法,從數(shù)學(xué)原理尋求音樂的邏輯組織方法,在科學(xué)與藝術(shù)之間架起一座橋梁。他追求音樂創(chuàng)作作為一個有機體即內(nèi)部邏輯結(jié)構(gòu)一體化,但同時他又人為地控制這些因素,他的形式化音樂蘊含著數(shù)學(xué)思想與智慧,他用音樂表達智慧。他音樂的獨特性與創(chuàng)見性,使其在歷史上奠定了 20世紀后半葉重要作曲家的地位,同時他在音樂與科學(xué)之間的探索影響深遠。
[Abstract]:This paper focuses on the theory and method of Markovian chain composition technique of Zenakis, a Greek French composer, and discusses it through the analysis of three works.At the same time, it studies Zenakis' music learning experience and creative idea, analyzes Zenakis' creative thinking deeply, and briefly discusses the relationship between probability and Markov chain principle and music creation.As a composer of engineers, architects, philosophers and thinkers, Zenakis based his work on the idea of combining art and science.He uses the mathematical principle of Markov chain as the theoretical basis and technical elements of composition, and assumes the sound as the premise of the particle. These sound particles have the characteristics of pitch frequency, intensity range and density.The important musical materials he used were "sound screens" made up of a certain number of "sound particles" or "texture screens" made up of musical fabrics.At the same time, the stable stage and fluctuating stage of Markov chain are used to control the macro and micro structure of the works.In the macro structure design, the application characteristics of the "sound screen" or "texture screen" in the stationary and fluctuating stages are the basis for the generation of music paragraphs, and the construction process of the microstructure is based on the use of Markov chain principle for detailed calculation.The conversion probability of sound screen or texture screen is calculated, and the order of transformation and evolution of sound screen or texture screen is determined, and the microstructure of music works is controlled.The analysis of three works of Zenakis' Markovian chain principle is focused on different angles: the analysis of < Analog A > focuses on the process of Markov chain operation.The transition and evolution of the sound screen in the stationary and fluctuating stages are determined; the synthesis of sound particles is emphasized in analogy B; and the architectural morphology and the skidding mode analysis based on the texture features are emphasized.This paper studies Zenakis' method of organizing objective sound, seeks the logical organization method of music from mathematical principle, and builds a bridge between science and art.He pursues music creation as an organism, that is, the integration of internal logical structure, but at the same time he artificially controls these factors. His formalized music contains mathematical thought and wisdom, and he expresses wisdom with music.The uniqueness and originality of his music have established his position as an important composer in the second half of the 20th century, and his exploration between music and science has a profound influence.
【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：J614
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本文編號：1734540