【摘要】：拉赫瑪尼諾夫是俄羅斯最偉大的指揮家、鋼琴演奏家和作曲家之一,雖然生活在作曲技法發(fā)生重大變革的時(shí)代,但是他仍堅(jiān)持傳統(tǒng)音樂的創(chuàng)作,并在繼承傳統(tǒng)的基礎(chǔ)上進(jìn)行突破與創(chuàng)新,在其中后期的音樂創(chuàng)作中逐漸加入了許多現(xiàn)代元素,將浪漫風(fēng)格與現(xiàn)代風(fēng)格融為一體。拉赫瑪尼諾夫的音樂創(chuàng)作十分豐富,其中鋼琴作品占有著比較重要的地位。本論文通過對(duì)其二十四首鋼琴前奏曲的分析與研究,試圖從中探尋拉赫瑪尼諾夫的和聲技法,將每一首前奏曲中出現(xiàn)的種種和聲現(xiàn)象以及作曲家在前奏曲創(chuàng)作中的音高組織特征進(jìn)行整理與歸納。從結(jié)構(gòu)上來看,本論文分為五章:第一章介紹了拉赫瑪尼諾夫的生平與創(chuàng)作簡(jiǎn)介;第二章到第四章將分別從音高材料,和聲材料相互關(guān)系以及調(diào)性陳述與布局等方面對(duì)二十四首作品中的具體和聲現(xiàn)象與音高組織作出整理與探討;第五章將對(duì)二十四首作品的和聲體系作一個(gè)總結(jié),從創(chuàng)作技術(shù)層面的分析研究上升到創(chuàng)作觀念的探索�？傮w來說,二十四首鋼琴前奏曲的創(chuàng)作是處于拉赫瑪尼諾夫創(chuàng)作時(shí)期的中后期,盡管傳統(tǒng)的大、小調(diào)功能體系和聲為其和聲技法的核心,但是其中不乏大量的帶有作曲家個(gè)性化特征的色彩性和聲處理方法,如同中音調(diào)調(diào)式交替手法。在前奏曲的后期作品中,拉赫瑪尼諾夫逐步增加了有限的近現(xiàn)代和聲技法,如非三度結(jié)構(gòu)和弦以及獨(dú)立的二、三度和聲進(jìn)行等,并將其與傳統(tǒng)手法相結(jié)合,形成了具有拉氏特征的和聲風(fēng)格。
[Abstract]:Rachmaninov is one of Russia's greatest conductors, pianists and composers. Although he lives in an era of great changes in composition techniques, he still insists on the creation of traditional music. And on the basis of inheriting the tradition to break through and innovate, in the later music creation gradually added many modern elements, will be romantic style and modern style as a whole. Rachmaninov's music creation is very rich, among which piano works play a more important role. Through the analysis and research of its 24 piano prelude, this paper tries to explore Rachmaninov's harmonic techniques. The harmonic phenomena in each prelude and the characteristics of the composer's pitch organization in the prelude creation are summarized. In terms of structure, the thesis is divided into five chapters: the first chapter introduces the life and creation of Rachmaninov, the second to the fourth chapters, In the aspects of the relationship between harmonic materials and tonality statement and layout, the concrete harmonic phenomena and pitch organization in 24 works are arranged and discussed. Chapter five summarizes the harmony system of 24 works. From the level of creative technology analysis and research to the exploration of creative ideas. Generally speaking, the creation of 24 piano prelude is in the middle and late stage of Rachmaninov's creation period, although the traditional large, minor functional system of harmony is the core of his harmony technique. However, there are a large number of color harmonies with the characteristic of composers, such as medium tone modulation. In the later works of the prelude, Rachmaninov gradually added a limited number of modern harmonic techniques, such as non-three-degree structural chords and independent two- and third-degree harmonies, and combined them with traditional techniques. A harmony style with Laplace characteristics was formed.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J624.1

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本文編號(hào)：2202311