本文選題：巴托克 + 《小宇宙》　； 參考：《西安音樂(lè)學(xué)院》2008年碩士論文

【摘要】： 文章通過(guò)對(duì)巴托克《小宇宙》中樂(lè)音材料運(yùn)用的研究,結(jié)合分析前人對(duì)這部曲集的研究成果發(fā)現(xiàn),《小宇宙》曲集中,巴托克在樂(lè)曲組織中在對(duì)各種調(diào)式、調(diào)性嫻熟運(yùn)用的基礎(chǔ)上,對(duì)音高在組織形態(tài)的構(gòu)建與應(yīng)用上同樣體現(xiàn)出巧妙的關(guān)聯(lián)性和邏輯性。 筆者運(yùn)用阿倫·福特的集合原理及欣德米特對(duì)和弦緊張度的分類(lèi)方法,在對(duì)音高材料自身內(nèi)在結(jié)構(gòu)及音響特點(diǎn)分析的基礎(chǔ)上,重點(diǎn)對(duì)音高材料作為樂(lè)曲發(fā)展的核心材料及其在樂(lè)曲中展現(xiàn)出的調(diào)式、調(diào)性?xún)?nèi)涵、音響特色等元素在樂(lè)曲中變化發(fā)展的規(guī)律進(jìn)行了分析,初步形成了以微觀形態(tài)參悟宏觀理念的邏輯推理方式。 文章對(duì)曲集中的音高組織手法的分析主要從以下兩個(gè)方面來(lái)呈示:音高結(jié)構(gòu)組織形態(tài)及人工音階。 (一)音高結(jié)構(gòu)組織形態(tài)的研究: 1.音程的壓縮與擴(kuò)展 巴托克在對(duì)樂(lè)音進(jìn)行半音化的嘗試中總結(jié)出了一種屬于他自己的創(chuàng)作技法,即音程的壓縮與擴(kuò)展,這種技法巴托克本人卻并未作更深一步的探討,筆者在通過(guò)對(duì)《小宇宙》的研究中發(fā)現(xiàn),這種技法是巴托克寫(xiě)作樂(lè)曲中較常用的手法,巴托克通過(guò)音程的壓縮與擴(kuò)展的手法調(diào)節(jié)樂(lè)曲發(fā)展變化中音響色彩、變換旋律與和弦結(jié)構(gòu),使樂(lè)曲在音程變化的有效控制中呈現(xiàn)出豐富的音樂(lè)組織形態(tài)。 2.三全音音在樂(lè)曲中的結(jié)構(gòu)力 巴托克的“軸心”體系作為他對(duì)調(diào)性的運(yùn)用手法的代表理論眾所周知,文章另辟蹊徑從“軸心”體系中體現(xiàn)出的最小單位三全音音程入手,研究《小宇宙》中三全音音程從旋律中的特性音程運(yùn)用,擴(kuò)展至三全音音程為特性的利底亞調(diào)式的運(yùn)用,最后延展至具有三全音音程關(guān)系的平行雙調(diào)性的運(yùn)用上,探尋巴托克在對(duì)特性音程三全音發(fā)展的思維路徑。 3.四音集合在樂(lè)曲中的結(jié)構(gòu)力 《小宇宙》中樂(lè)音材料具有理性化、邏輯化的組織特點(diǎn),文章通過(guò)選取與中國(guó)五聲音階風(fēng)格最接近的四音集合4-23(12)的分析,以這個(gè)集合的內(nèi)在機(jī)構(gòu)及音響特點(diǎn)為基礎(chǔ),結(jié)合樂(lè)曲解析巴托克以4-23(12)這個(gè)四音集合為樂(lè)曲核心材料,通過(guò)對(duì)這個(gè)集合的擴(kuò)展形成具有五聲音階與具有大小調(diào)音階等不同音樂(lè)特色音階形態(tài)的發(fā)展手法。 (二)人工音階運(yùn)用的研究: 在《小宇宙》中除了我們常見(jiàn)的大小調(diào)音階及“教會(huì)調(diào)式”的運(yùn)用外,我們還會(huì)看到全半音階、全音音階在樂(lè)曲片段中的運(yùn)用及作為整個(gè)樂(lè)曲素材的運(yùn)用,這兩個(gè)音階在《小宇宙》中是以調(diào)性中心為基礎(chǔ)結(jié)合特有的音程結(jié)合、變化形態(tài)形成了獨(dú)特的音樂(lè)風(fēng)格。 綜上所述,《小宇宙》以傳統(tǒng)調(diào)式、調(diào)性為基石,以民間音樂(lè)素材為血肉,在作品中對(duì)這兩種因素加以延伸與突破形成了巴托克在音高組織安排上集中、簡(jiǎn)潔、富有邏輯的音高寫(xiě)作技法,通過(guò)對(duì)巴托克音樂(lè)體系中最小單位音高的研究可以為我們?nèi)绾瓮ㄟ^(guò)最細(xì)微的音高組織手法架構(gòu)與組織樂(lè)曲,使感性的樂(lè)思與理性的結(jié)構(gòu)更加融合。
[Abstract]:Through the study of the use of Bartok's music in the small universe and the analysis of the achievements of previous studies on this set of music, "the small universe > Music concentration", on the basis of the skillful use of various forms and tunes in the music organization, Bartok also embodies the ingenious relevance of the construction and application of the pitch in the form of the organization. And logic.
On the basis of Allen Ford's collection principle and Himdemith's classification of chord tension, on the basis of the analysis of the intrinsic structure and sound characteristics of the pitch material, the author focuses on the key materials of the sound material as the core material for the development of music, the modulation, the connotation of the tone, the sound characteristics and so on in the music. The law of change and development has been analyzed, and a logical reasoning method has been initially formed to comprehend the macro concept by microscopic form.
The article analyzes the pitch organization techniques of the tune mainly from the following two aspects: pitch structure, organization and artificial scale.
(1) the study of the structure of the pitch structure:
The compression and expansion of the 1. range
In his attempt to half tone music, Bartok summed up a creative technique belonging to his own, that is, the compression and expansion of the range. This technique Bartok himself did not make a further discussion. In the study of the small universe, the author found that this technique is a more common technique in Bartok's writing music. Through the compression and expansion of the range, it regulates the sound color in the music development and changes, transforms the melody and the chord structure, so that the music presents a rich musical form in the effective control of the change of the sound range.
The structural force of the 2. tri tone sound in the music
As the representative theory of Bartok's "axis" system as his theory of the use of the modulation, the article begins with a new approach to the minimum unit three full tone range embodied in the "axis" system, and studies the use of the characteristic range of the three full tone range from the melody to the three full tone range. Finally, it extends to the application of parallel dual tones with three full tone intervals, and explores Bartok's way of thinking in the development of three full tones of characteristic intervals.
3. the structural force of the set of four tones in the music
"Small cosmological music" has a rational and logical organizational feature. The article is based on the analysis of the four tone set 4-23 (12) which is closest to the five tone scale of China, based on the internal mechanism and sound characteristics of the set, and combines music to parse Bartok with 4-23 (12), the four sound, as the core material of the music, and through this The expansion of a set forms the development of the five tone scale and the musical scale with different sizes and tones.
(two) the study of the application of the artificial scale:
In the small universe, we also see the use of the whole semi scale, the full tone scale in the piece of music and the use of the whole music material in addition to the use of our common size and the "church style". These two scales are combined with a special range based on the center of the tune in the small universe and form a change form in the small universe. A unique style of music.
To sum up, < the small universe > with the traditional style, the tonality as the cornerstone, the folk music material as the flesh and blood. In the work, the two factors are extended and breakthroughs to form Bartok's concentrated, concise, logical pitch writing technique in the organization of the pitch organization, and through the study of the minimum unit pitch in the Bartok music system, How do we structure and organize music through the smallest pitch organization so that perceptual music and rational structure are more integrated.
【學(xué)位授予單位】：西安音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類(lèi)號(hào)】：J605

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 田媚娜;八音之韻[D];西安音樂(lè)學(xué)院;2012年

2 魏琪;全音音階研究[D];安徽師范大學(xué);2012年

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本文編號(hào)：2062025