本文選題：格拉祖諾夫 + 多聲思維��； 參考：《西安音樂學院》2017年碩士論文

【摘要】：人們習慣將俄羅斯音樂與柴可夫斯基、強力集團以及后來的拉赫馬尼諾夫、肖斯塔科維奇等聯(lián)系起來,卻對在上述兩個時期起到承前啟后作用的作曲家格拉祖諾夫的談論不是很多,甚至很多專業(yè)的音樂史書也將他一筆帶過。從目前國內(nèi)研究情況來看,關于格拉祖諾夫作品的研究更多的是從音樂欣賞的角度去分析,著眼于作曲技術,多聲思維這一方面的寥寥無幾。本文將從作曲技術以及作曲中的多聲思維這個角度從作品op.10切入進行分析研究。本文以格拉祖諾夫《F大調(diào)第二弦樂四重奏》(op.10)為研究對象,主要通過研究該作品中的復調(diào)技術,客觀闡述格拉祖諾夫在弦樂四重奏中多聲思維的特點。格拉祖諾夫《F大調(diào)第二弦樂四重奏》(op.10)創(chuàng)作于1884年,從1883年開始格拉祖諾夫受到貝利亞葉夫的賞識,在這位贊助商家里經(jīng)常演出自己的作品,在此期間他與很多音樂家一起交流,學習到了很多音樂創(chuàng)作的技巧與技法。而第二弦樂四重奏就是在這個時期創(chuàng)作而成,該作品體現(xiàn)了他在這個時期對音樂方面的理解與思考。在這首四重奏中也不難看出他在創(chuàng)作中對多聲思維具有敏銳的洞察力、深刻的理解力和豐富的想象力。本文以格拉祖諾夫《F大調(diào)第二弦樂四重奏》(op.10)入手,將題目定為多聲思維的研究,即以創(chuàng)作的角度來探討作曲家格拉祖諾夫《第七弦樂四重奏》中音樂語言的特點�？陀^闡述格拉祖諾夫在弦樂四重奏中對于多聲思維的運用。筆者從格拉祖諾夫在《F大調(diào)第二弦樂四重奏》中運用多聲思維入手,研究他將多聲手法有設計、有計劃性的運用在創(chuàng)作中使音樂更加貼合他的表達意圖的創(chuàng)作思維。本論文共三章內(nèi)容:第一章簡單介紹格拉祖諾夫的生活背景、學習經(jīng)歷及作品,總結他獨有的創(chuàng)作風格以及創(chuàng)作理念。第二章分別對《F大調(diào)第二弦樂四重奏》(op.10)四個樂章中的復調(diào)技法的應用特征進行貫通分析和歸納。第三章筆者通過對第二章中對《F大調(diào)第二弦樂四重奏》(op.10)四個樂章中的復調(diào)技法分析研究,總結他在創(chuàng)作該作品時使用的多聲思維特點,筆者從格拉祖諾夫在《第二弦樂四重奏》中運用的對位技術入手,研究他的多聲的創(chuàng)作思維,從縱向和橫向兩個方面分析研究他在創(chuàng)作過程當中對于多聲思維的靈活運用。通過分析研究可以得出作曲家是將多聲思維創(chuàng)作手法有設計、有計劃性的運用在創(chuàng)作中,這種多聲的創(chuàng)作思維使音樂的表現(xiàn)力更加貼合他的表達意圖。
[Abstract]:People used to associate Russian music with Tchaikovsky, the powerful groups and later Rakhmaninov, Shostakovich, etc. But there is not much talk about the composer Gladynov, who played an important role in these two periods, and even a lot of professional music history books have written about him. From the point of view of the current domestic research, the research on Gracunov's works is more from the perspective of music appreciation, focusing on the composition technology, multi-tone thinking this aspect of the few. This paper will analyze and research from the angle of composition technology and multi-sound thinking in composition from the perspective of op.10. This paper takes Gracunov's string quartet in F major as the object of study, mainly by studying the polyphonic technique in this work, and expounding objectively the characteristics of Gracunov's multi-tone thinking in string quartet. Gladyonov (string Quartet No. 2 in F major) was written in 1884. Since 1883, Gracunov has been admired by Beryaf. He often performs his own works at the sponsor's home, during which he communicates with many musicians. Learned a lot of music creation skills and techniques. The second string quartet was created in this period, which embodied his understanding and thinking about music. In this quartet, it is not difficult to see that he has sharp insight, deep understanding and rich imagination in his writing. This paper begins with Gracunov's string quartet in F major (Op.10), and studies the topic of multi-tone thinking, that is, to explore the characteristics of musical language in composer Gracunov's seventh string quartet from a creative point of view. This paper objectively expounds the application of Gracunov's multi-tone thinking in string quartet. Starting with the use of multi-tone thinking in string Quartet No. 2 in F major, the author studies the creative thinking in which he has designed and planned the use of multi-tone techniques to make the music more in accord with his expressed intention. This thesis consists of three chapters: the first chapter briefly introduces Gracunov's life background, learning experience and works, summarizes his unique creative style and creative ideas. The second chapter analyzes and summarizes the application characteristics of polyphonic techniques in the four movements of "string Quartet No. 2 in F major" (Op.10). In the third chapter, the author analyzes and studies the polyphonic techniques in the four movements of "string Quartet No. 2 in F major" in Chapter 2, and summarizes the characteristics of his multi-tone thinking used in the creation of this work. Starting with the matching technique used by Gracunov in the second string Quartet, the author studies his multi-tone creative thinking, and analyzes his flexible application of multi-tone thinking in the process of creation from both vertical and horizontal aspects. Through the analysis and research, it can be concluded that the composers have designed and planned creative techniques of multi-tone thinking, and this kind of multi-sound creative thinking makes the expression of music more consistent with his intention of expression.
【學位授予單位】：西安音樂學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J614

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本文編號：1945233