本文選題：調(diào)性結(jié)構(gòu)力 + 感性結(jié)構(gòu)力�。� 參考：《上海音樂(lè)學(xué)院》2017年碩士論文

【摘要】：本文以調(diào)性結(jié)構(gòu)力為研究對(duì)象,以調(diào)性之于音響及感性的驅(qū)動(dòng)力為主要解決的問(wèn)題,旁及與調(diào)性結(jié)構(gòu)力相關(guān)的藝術(shù)和文化問(wèn)題。調(diào)性結(jié)構(gòu)力滲透在調(diào)性音樂(lè)的方方面面。從歷史層面來(lái)看,它支配著調(diào)性語(yǔ)言規(guī)則的形成和發(fā)展;從作品層面來(lái)說(shuō),它是讓音樂(lè)形式得以凝聚的核心控制力;從技術(shù)層面來(lái)看,它是運(yùn)用調(diào)性語(yǔ)言規(guī)則的深層邏輯;從審美層面來(lái)說(shuō),它是審美主體依托音樂(lè)的形式在感性中體驗(yàn)到的力。因此,本文采取層層深入的研究策略,先對(duì)調(diào)性結(jié)構(gòu)力的形而下學(xué)特征以及形而上學(xué)特質(zhì)進(jìn)行論述;然后從哲學(xué)、美學(xué)、心理學(xué)層面來(lái)論述調(diào)性結(jié)構(gòu)力如何在音響與感性中得以統(tǒng)一;最后結(jié)合感性聆聽與理性分析,以具體音樂(lè)作品作為個(gè)案研究,用兼具描寫性與修辭性的文字語(yǔ)言來(lái)描述調(diào)性結(jié)構(gòu)力的結(jié)構(gòu)性驅(qū)動(dòng)。在現(xiàn)有音樂(lè)理論的使用上,筆者主要依據(jù)的是恩斯特·庫(kù)爾特的能量理論和倫納德·邁爾的期待理論,前者側(cè)重關(guān)注心理能量向音樂(lè)形式的注入,后者側(cè)重關(guān)注的是由音樂(lè)形式喚起的意識(shí)趨向。由此得出本文的中心論點(diǎn):調(diào)性結(jié)構(gòu)力的結(jié)構(gòu)性驅(qū)動(dòng)在于由樂(lè)音的運(yùn)動(dòng)轉(zhuǎn)化出的能量的流動(dòng),并依托音樂(lè)的形式呈現(xiàn)在感性中。
[Abstract]:This paper takes the tonality structural force as the research object, takes the tonality to the sound and the perceptual driving force as the main solution question, bypasses the art and the culture question which is related to the tonality structure force. The tonality structure force permeates every aspect of the tonality music. From the historical perspective, it dominates the formation and development of tonality language rules; from the work level, it is the core control force that makes music form condensed; from the technical level, it is the deep logic of the application of tonality language rules. From the aesthetic level, it is the aesthetic subject based on the form of music in the perceptual experience of the force. Therefore, this paper adopts the deep research strategy, first discusses the metaphysical characteristics and metaphysical characteristics of the tonality of structural force, and then from philosophy, aesthetics, At the psychological level, it discusses how the structural force of tonality can be unified in sound and sensibility. Finally, combining with perceptual listening and rational analysis, it takes concrete musical works as a case study. The structural driving force of tonality structure is described by both descriptive and rhetorical language. In the use of the existing music theory, the author mainly bases on Ernst Kurt's energy theory and Leonard Mayer's expectation theory, the former focusing on the psychological energy injection into the music form. The latter focuses on the tendency of consciousness aroused by musical forms. The main point of this paper is that the structural driving force of tonality lies in the flow of energy transformed by the movement of musical sound, and the form of music is presented in the perceptual form.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J614

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本文編號(hào)：1965826