本文選題：序列 + 和弦選擇��； 參考：《上海音樂學(xué)院》2017年碩士論文

【摘要】：美國作曲家米爾頓·巴比特是戰(zhàn)后序列主義音樂的重要代表人物,同時,他也是一個數(shù)學(xué)家,具有嚴(yán)密的邏輯性數(shù)理思維模式,所以,在他的創(chuàng)作階段中,既繼承了勛伯格的六音組分割技術(shù),也利用自己在數(shù)學(xué)上的獨特天賦,將這種分割技術(shù)做進(jìn)一步的規(guī)則與不規(guī)則的分割發(fā)展,另外,他不僅從音高上安排序列形態(tài),還從節(jié)奏和力度上設(shè)計參數(shù)進(jìn)行排列,從而形成整體序列的創(chuàng)作技法,具有其獨特的音樂風(fēng)格。本文研究對象是巴比特的《第三弦樂四重奏》,這部序列作品寫于1970年,這一時期是巴比特音樂創(chuàng)作的第二時期,其創(chuàng)作風(fēng)格特點主要體現(xiàn)在發(fā)展序列分割技術(shù),且改變某些音組即內(nèi)部音級出現(xiàn)的先后順序,這樣既以增加樂曲序列分割的多樣性,使十二個音的排列組合更有趣味,也增加了音響效果上的多變性。同時,他熟練第掌握了勛伯格的六音組集合配套的寫作技術(shù),并在實踐中證明了這一點。除此之外,筆者從和弦材料和橫向線條及其與和聲關(guān)系等方面的研究發(fā)現(xiàn)巴比特對于序列之間在縱向上形成的和弦與橫向旋律動機的形成特點中,小二度和三全音是其主要構(gòu)成因素。通過對序列的選擇邏輯、序列的整體布局與相互關(guān)系研究和序列的潛在調(diào)性的探究,筆者找到其序列的選擇邏輯,并從整體上發(fā)現(xiàn)序列緊張度的分布趨勢。雖然巴比特的音樂美學(xué)觀念屬于自律論的音樂美學(xué)觀念的范疇內(nèi),但巴比特的音樂創(chuàng)作中并沒有完全脫離感性因素,這也體現(xiàn)在這部作品中巴比特對三全音和小二度的運用上,巴比特所形成的在不完全拋除情感的前提下,重視音樂的純粹美、邏輯美和形式美的創(chuàng)作思想和美學(xué)理念值得我們學(xué)習(xí)和借鑒。
[Abstract]:Milton Babbitt, an American composer, is an important representative of postwar sequentialism music. At the same time, he is also a mathematician with a strict logical mathematical thinking pattern. He not only inherited Schoenberg's six-tone group segmentation technique, but also made use of his unique mathematical talent to further develop this segmentation technique in terms of rules and irregular segmentation. In addition, he not only arranged sequential forms from pitch, The design parameters are arranged in rhythm and intensity to form the creative technique of the whole sequence and have its unique music style. The object of this study is Babbitt's the third string Quartet, which was written in 1970. This period is the second period of Babbit's music creation, and its creative style is mainly reflected in the development of sequence segmentation technology. And changing the sequence of some sound groups, that is, the appearance of internal sound levels, not only increases the diversity of music sequence segmentation, makes the arrangement and combination of twelve sounds more interesting, but also increases the variability of sound effect. At the same time, he mastered Schoenberg's six-syllable set of writing techniques, and in practice proved this. In addition, from the aspects of chord material and transverse lines and their relationship with harmony, the author finds that Babbitt has the characteristic of forming the motive of chord and transverse melody in the longitudinal formation between sequences. Square and triple tone are the main factors. By studying the selection logic of sequences, the overall layout and interrelation of sequences, and the potential tonality of sequences, the author finds out the selection logic of sequences, and finds out the distribution trend of the tension degree of sequences as a whole. Although Babbitt's aesthetic concept of music belongs to the category of self-discipline musical aesthetics, Babbitt's music creation is not completely separated from perceptual factors, which is also reflected in Babbitt's use of triple tone and second order in this work. Under the premise of not completely dismissing emotion Babbitt pays attention to the pure beauty of music the beauty of logic and the aesthetic idea of form which are worthy of our study and reference.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J614.1

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