【摘要】：女書是世界現(xiàn)存唯一一種女性文字,在湖南省江永一帶的女性間流傳使用,是一種獨(dú)特的女性文化。僅限女性使用的性別特征、尚不明確的歷史起源、逐漸消亡的發(fā)展現(xiàn)狀,使女書顯得古老而神秘,成為近幾十年來(lái)各相關(guān)學(xué)科的重要研究課題。另外,由于女書采用“吟唱”這一獨(dú)特的閱讀方式,故其流傳使用與音樂(lè)有著不可分割的關(guān)系,具有重要的音樂(lè)研究?jī)r(jià)值。《女書》是譚盾創(chuàng)作完成于2013的多媒體交響樂(lè)作品,通過(guò)深入湖南江永采風(fēng)搜集,拍攝了十三部微電影,并將其與交響樂(lè)相結(jié)合,耗時(shí)五年創(chuàng)作而成,首次以聲像方式展示了“女書”這一古老的神秘文化。作品通過(guò)互相關(guān)聯(lián)的十三個(gè)樂(lè)章,描繪了中國(guó)女性的堅(jiān)韌之美,將東方文化通過(guò)多媒體這一載體與西方音樂(lè)形式相融合,譜寫了遠(yuǎn)古與當(dāng)代的對(duì)話,充分體現(xiàn)了譚盾一向致力于將傳統(tǒng)與現(xiàn)代、東方與西方相融合的藝術(shù)觀念。另外,在這部作品中,作曲家主要突出了對(duì)女書文化人文內(nèi)涵的表達(dá),其在音響聽覺(jué)層面及藝術(shù)情懷方面均有別于前期的作品,可看出作曲家創(chuàng)作觀念與思維的某些轉(zhuǎn)變。因而,筆者以《女書》作為研究論題,以期探究作曲家在視聽相融的現(xiàn)代音樂(lè)形式與傳統(tǒng)女書文化抽象人文內(nèi)涵間的結(jié)合過(guò)程與方法。本論文研究?jī)?nèi)容主要分為以下四個(gè)部分:第一章為作曲家簡(jiǎn)介及作品綜述,通過(guò)對(duì)作曲家及作品創(chuàng)作過(guò)程的梳理,初步了解《女書》的創(chuàng)作背景及內(nèi)容表達(dá);第二章重點(diǎn)從作品中的傳統(tǒng)部分,即“女書”作為切入點(diǎn),對(duì)女書文化、作品中女書的呈現(xiàn)形式、作品樂(lè)章間的邏輯安排及女書吟唱的音調(diào)特征做出解析;第三章對(duì)作為作品中“未來(lái)寓義”對(duì)應(yīng)形式的交響樂(lè)隊(duì)做具體形態(tài)分析,從樂(lè)隊(duì)部分的音高材料組織、樂(lè)隊(duì)特性音色的運(yùn)用、樂(lè)隊(duì)創(chuàng)作技法的簡(jiǎn)約性、作品中的偶然性因素四個(gè)論點(diǎn)入手,歸納出樂(lè)隊(duì)部分的創(chuàng)作特征;第四章進(jìn)一步闡釋作品中代表過(guò)去的女書吟唱與象征著未來(lái)的管弦樂(lè)隊(duì)及作為過(guò)去與未來(lái)銜接環(huán)節(jié)的豎琴三者間結(jié)合的層次關(guān)系,并對(duì)該作品的人文內(nèi)涵做總結(jié)性的陳述。
[Abstract]:Women's books, the only female characters in the world, are used among women in the Jiangyong area of Hunan province. It is a unique female culture. It is only limited to women's sex characteristics. It is not clear about the origin of history, and the development of the female is gradually declining. It makes the female book appear old and mysterious, and has become an important study of various related disciplines in recent decades. In addition, as the female book uses this unique way of reading, it has an inseparable relationship with music and has an important value in the study of music. < women's book > is a multimedia Symphony written in 2013 by Tan Dun. Through deep collection of Hunan Jiang Yong collection, thirteen microfilms have been filmed and will be taken. Combined with the symphony, it took five years to create the music. It was the first time to show the ancient mystical culture of the "female book" in a sound image. The works depicted the tenacious beauty of the Chinese women through the thirteen movements associated with each other, and incorporated the oriental culture through the multimedia and the western music form, and wrote the ancient and contemporary. The dialogue fully embodies the artistic conception that Tan Dun has always devoted to the integration of tradition and modernity, the East and the West. In this work, the composer mainly highlights the expression of the cultural connotation of the female book culture, which is different from the earlier works in the acoustics and artistic feelings. It can be seen that the composer's creative ideas and thoughts can be seen. In order to explore the combination process and method of the composer's combination of modern musical form and the abstract cultural connotation of traditional women's culture, the author of this thesis is divided into four parts: the first chapter is the composer's brief introduction and a summary of the works, and the composer. The second chapter focuses on the traditional part of the works, that is, the "female book" as the breakthrough point, and analyzes the female book culture, the presentation form of the female books in the works, the logical arrangement between the works and the tone characteristics of the female books, and the third chapter as a work. The Symphony Orchestra of the corresponding form of "future meaning" in the product is analyzed in detail. From the organization of the pitch material of the band, the use of the tone color of the band, the simplicity of the band creation technique and the incidental factors in the work, the author sums up the creative characteristics of the band part; the fourth chapter explains the representation of the past in the past. The female book is singing and symbolizing the relationship between the orchestra of the future and the combination of the three harp as the link between the past and the future, and makes a summary of the humanistic connotation of the work.
【學(xué)位授予單位】：西南大學(xué)
【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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