【摘要】：《F調(diào)鋼琴協(xié)奏曲》是美國(guó)作曲家格什溫第一首獨(dú)立完成的"交響爵士"作品。作為十九世紀(jì)末二十世紀(jì)初歐洲作曲家"訪美"的"逆向產(chǎn)物",受到了廣泛關(guān)注。然而,盡管人們從人文背景,演奏技巧或節(jié)奏等方面對(duì)其進(jìn)行了大量研究,對(duì)于構(gòu)成作品風(fēng)格極為重要的音高構(gòu)成,卻未能深入涉及。本文結(jié)合作者由爵士樂手逐步轉(zhuǎn)變?yōu)閷I(yè)作曲家的特殊創(chuàng)作歷程,依據(jù)20世紀(jì)二、三十年代初步成型的爵士樂音高理論、以及同時(shí)期"訪美"中被歐洲作曲家?guī)朊绹?guó)的傳統(tǒng)作曲技術(shù)理論對(duì)這部作品的旋律形態(tài),調(diào)式構(gòu)成、和弦結(jié)構(gòu)與和聲運(yùn)動(dòng)模式等給予理性的分析總結(jié),發(fā)掘作品"爵士樂"標(biāo)簽下蘊(yùn)藏的古典音樂邏輯和嚴(yán)肅音樂創(chuàng)作技法,嘗試從音高角度進(jìn)一步深化人們對(duì)于格什溫音樂的認(rèn)知。論文分為兩個(gè)部分,即引言和包含四個(gè)章節(jié)的正文部分。引言部分陳述本文的選題緣起,梳理《F調(diào)鋼琴協(xié)奏曲》的創(chuàng)作環(huán)境與時(shí)代背景,重點(diǎn)討論作品及曲作者的相關(guān)研究進(jìn)展,最后提出論文設(shè)想。第一章討論了《F調(diào)鋼琴協(xié)奏曲》中的布魯斯調(diào)式及由不同布魯斯調(diào)式構(gòu)成的橫向線條。盡管作品中存在一些看似傳統(tǒng)大小調(diào)式的音高材料,但不難發(fā)現(xiàn)布魯斯調(diào)式仍是全曲唯一的調(diào)式構(gòu)成。第二章列舉了作品中出現(xiàn)的特殊和弦,并對(duì)其縱向結(jié)構(gòu)進(jìn)行了詳細(xì)的討論。這些特殊的縱向結(jié)構(gòu)多數(shù)來源于作品所使用的各種布魯斯調(diào)式,還有一些僅為了滿足單純的音響點(diǎn)綴需求。總的來說,這些和弦結(jié)構(gòu)在靜態(tài)上確保了作品純正的爵士風(fēng)格。第三章依據(jù)作品的和聲運(yùn)動(dòng)模式將作品的音高材料分為呈示性段落和連接性段落兩類。呈示性段落的功能性、樂句完整程度與爵士樂風(fēng)格特征要明顯的高于連接性段落。而每一個(gè)連接性段落又為隨后被引入的呈示性段落做了目的明確的準(zhǔn)備。借助圖表可以更為清晰的呈現(xiàn)上述音高材料發(fā)展的一般模式。第四章對(duì)作品的調(diào)性進(jìn)行了梳理,發(fā)現(xiàn)全曲的調(diào)性是以接近對(duì)稱的方式圍繞中心調(diào)F展開,即每當(dāng)離開F之后總是周期性的回歸。這種常見于古典、浪漫主義時(shí)期的調(diào)性布局為全曲音高材料的平衡提供了進(jìn)一步的保障。因此,該作品不僅僅是一首被放大的爵士樂作品,更是能符合多方面邏輯要求的古典音樂。
[Abstract]:Piano Concerto in F tune is the first independent work by American composer Gershwin. As a "reverse product" of European composers' visit to the United States at the end of the nineteenth century and the beginning of the 20th century, it has received extensive attention. However, although people have done a lot of research on it from the aspects of humanistic background, playing skills or rhythm, it has not been deeply involved in the pitch composition, which is very important to the style of the work. Based on the author's special creative course from jazz musician to professional composer, this paper makes a rational analysis and summary of the melody form, tone composition, chord structure and harmony movement mode of this work according to the jazz pitch theory initially formed in the 1920s and 1930s and the traditional composition technology theory brought into the United States by European composers in the same period. This paper explores the classical music logic and serious music creation techniques contained in the label of Jazz, and tries to further deepen people's understanding of Gershwin's music from the perspective of pitch. The paper is divided into two parts, that is, the introduction and the main body part which contains four chapters. The introduction describes the origin of the topic, combs the creation environment and background of the piano Concerto in F tune, focuses on the related research progress of the works and the songwriters, and finally puts forward the ideas of the paper. The first chapter discusses the blues pattern and the horizontal lines composed of different blues in Piano Concerto in F tune. Although there are some seemingly traditional pitch materials in the work, it is not difficult to find that the blues pattern is still the only tone composition of the whole song. The second chapter lists the special chords in the works and discusses their longitudinal structure in detail. Most of these special longitudinal structures come from all kinds of blues patterns used in the works, and some are only to meet the needs of simple audio embellishment. In general, these chords statically ensure the pure jazz style of the work. In the third chapter, according to the harmonious motion mode of the work, the pitch materials of the work are divided into indicative paragraphs and connected paragraphs. The functionality of indicative paragraphs, the completeness of phrases and the characteristics of jazz style are significantly higher than those of connected paragraphs. And each connecting paragraph makes a clear preparation for the indicative paragraphs that are subsequently introduced. With the help of charts, the general model of the development of pitch materials can be presented more clearly. The fourth chapter combs the tonal nature of the work, and finds that the tonal nature of the whole song is spread around the central modulation F in a nearly symmetrical way, that is, it always returns periodically after leaving F. This tonal layout, which is common in classical and romantic periods, provides a further guarantee for the balance of pitch materials. Therefore, this work is not only a magnified jazz work, but also classical music that meets the requirements of various logic.
【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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