本文選題：武滿徹 + 中期作品　； 參考：《上海音樂(lè)學(xué)院》2007年博士論文

【摘要】： 本論文的研究對(duì)象是日本當(dāng)代最具國(guó)際影響力的作曲家武滿徹(1930-1996)的中期音樂(lè)創(chuàng)作(1958-1977)。武滿徹的中期創(chuàng)作所經(jīng)歷的約二十年時(shí)間，正是西方音樂(lè)界經(jīng)過(guò)戰(zhàn)后十年的恢復(fù)和反思，進(jìn)入先鋒音樂(lè)創(chuàng)作的鼎盛時(shí)期，各種創(chuàng)作觀念、技法對(duì)日本音樂(lè)界產(chǎn)生了極大的影響，此時(shí)的武滿徹已經(jīng)獲得一定的國(guó)際聲譽(yù)，與西方音樂(lè)界的接觸和交流十分頻繁和深入，他的創(chuàng)作以自身獨(dú)特的風(fēng)格匯入到這一運(yùn)動(dòng)中。此外，武滿徹中期創(chuàng)作還經(jīng)歷了“凱奇沖擊”的強(qiáng)烈影響和對(duì)自身文化的“重新發(fā)現(xiàn)”和認(rèn)識(shí)，促使他主動(dòng)和深入地思考日本傳統(tǒng)音樂(lè)的美學(xué)和吸收傳統(tǒng)音樂(lè)元素，并反映在創(chuàng)作實(shí)踐中。 鑒于目前國(guó)外對(duì)武滿徹創(chuàng)作的總體風(fēng)格和觀念特征的研究已獲得充分成果，對(duì)于單部作品或有關(guān)聯(lián)的數(shù)首作品的研究也較常見(jiàn)，但是分期研究還很少見(jiàn)，，尤其是聚焦于技法特征的研究更是幾近闕如，因而，本論文試圖在此方面做些嘗試。本文選題的意義在于，通過(guò)對(duì)武滿徹作品的深入研究，有益于更為全面和深入地理解現(xiàn)代音樂(lè)的創(chuàng)作觀念和技法；本研究亦從一個(gè)側(cè)面反映了西方現(xiàn)代音樂(lè)創(chuàng)作觀念和技法對(duì)日本現(xiàn)代音樂(lè)的影響，有益于更進(jìn)一步地研究日本現(xiàn)代音樂(lè)創(chuàng)作的整體現(xiàn)狀；通過(guò)本研究亦可為我們了解與中國(guó)同為東方民族的日本，在面臨西方音樂(lè)觀念和技法的沖擊和影響下，如何在創(chuàng)作中保持、滲透、融合自身民族的文化因素；從實(shí)踐的意義上，通過(guò)對(duì)武滿徹中期音樂(lè)創(chuàng)作中所體現(xiàn)出的觀念、所運(yùn)用的技法的理解，可以為自己的創(chuàng)作提供些許借鑒。 論文的主旨在于：就武滿徹中期作品中的創(chuàng)作技法，從不同的方面(音高、音色、織體、節(jié)奏、時(shí)間結(jié)構(gòu)等等)進(jìn)行描述、分析、梳理、歸納、總結(jié)，從技法層面的特征揭示其中期創(chuàng)作的風(fēng)格傾向，在西方先鋒音樂(lè)發(fā)展的整體背景中探討武滿徹中期創(chuàng)作觀念中的西方因素、先鋒因素、東方因素以及它們?cè)趧?chuàng)作中的融合體現(xiàn)。 全文由緒論、五章正文和結(jié)語(yǔ)組成。緒論部分，對(duì)目前國(guó)內(nèi)外武滿徹研究的現(xiàn)狀進(jìn)行概要介紹，對(duì)其創(chuàng)作的總體特征進(jìn)行歸納并探討了武滿徹的創(chuàng)作分期問(wèn)題：第一章，主要討論西方音樂(lè)的傳入對(duì)日本現(xiàn)代音樂(lè)創(chuàng)作的影響及日本創(chuàng)作界在二十世紀(jì)上半葉的基本情況，為討論武滿徹的創(chuàng)作提供一定的歷史背景，同時(shí)回顧了武滿徹的早期生涯和創(chuàng)作：第二章，概括論述了多重影響下的武滿徹中期創(chuàng)作，包括對(duì)序列音樂(lè)的嘗試、凱奇音樂(lè)思想的影響、對(duì)日本音樂(lè)文化的反思和“前衛(wèi)”音樂(lè)觀念與技法的影響；第三章，主要討論音高組織問(wèn)題，揭示武滿徹在作品的音高組織方面的技法特征；第四章，梳理武滿徹在音色、音響織體方面的基本特征；第五章，聚焦于武滿徹作品中節(jié)奏、節(jié)拍即音樂(lè)的時(shí)間組織和整體結(jié)構(gòu)方面的處理特征；最后，在結(jié)語(yǔ)部分，主要討論了武滿徹獨(dú)特的創(chuàng)作觀念與作品形態(tài)及技法的關(guān)系，在觀念層面上對(duì)本文的論述進(jìn)行概要?dú)w納和引申。
[Abstract]:The research object of this paper is the medium-term music creation (1958-1977) of the most international influence composer (1930-1996) of the contemporary Japanese composer (1958-1977). About twenty years of the mid-term creation of Wu Cheng, it was the recovery and reflection of the western music world after the post-war years, into the heyday of the pioneering music creation, and the various creative ideas. The technique has a great influence on the Japanese music world. At this time, Wu chuetcher has gained a certain international reputation, and the contacts and exchanges with the western music circles are very frequent and deep, and his creation is brought into this movement in his own unique style. In addition, Toru Takemitsu's medium-term creation has also experienced the strong influence and the right of "Cage shock". The "rediscovery" and understanding of his own culture prompted him to think deeply and actively about the aesthetics of traditional Japanese music and the absorption of the elements of traditional music, and reflected in his creative practice.
In view of the current research on the overall style and the concept characteristics of Toru Takemitsu's creation, the research on the single work or the related first works is more common, but the research on the stages is rare, especially the research focused on the characteristics of the techniques. Therefore, this thesis tries to make some attempts in this field. The significance of this article is that through the in-depth study of Toru Takemitsu's works, it is beneficial to a more comprehensive and in-depth understanding of the creative ideas and techniques of modern music. This study also reflects the impact of modern western music creation ideas and techniques on Modern Japanese music from one side, and is beneficial to further study the modern Japanese sound. The whole present situation of music creation; through this study, we can also understand how to maintain, infiltrate, and integrate the cultural factors of its own nation under the impact and influence of western music concepts and techniques in the face of the impact and influence of Western musical ideas and techniques. The understanding of the techniques used can provide some reference for his creation.
The main purpose of this paper is to describe, analyze, comb, sum up, sum up, analyze, summarize and summarize the style of the period from the different aspects (pitch, tone, rhythm, time structure and so on) in the mid-term works of Wu Cheng, and discuss the style of the creation from the characteristics of the technical level, and discuss the full in the whole background of the development of Western avant-garde music. The western factors, vanguard factors, Oriental factors and their integration in creation are the embodiment of the creative concept.
The full text is composed of the introduction, the five chapter and the conclusion. The introduction gives a brief introduction to the current status of the full study at home and abroad, summarizes the general characteristics of his creation and discusses the issue of the creative stages of Wu Cheng: Chapter 1, mainly discussing the influence of the introduction of western music on the creation of modern Japanese music and the creation of Japanese music. The basic situation in the first half of the twentieth Century provides a certain historical background for the discussion of Wu - man - Cher's creation. At the same time, it reviews the early career and creation of Wu - Cher - Cher: second chapters, a summary of the mid-term creation under the multiple effects, including the attempt at sequence music, the influence of Cage's music thought, and the Anti Japanese music culture. The influence of thought and "avant-garde" music ideas and techniques; the third chapter mainly discusses the problem of the organization of pitch, reveals the technical features of Wu Man chin in the pitch organization of the works; the fourth chapter, combs the basic characteristics of Toru Takemitsu in the tone color and the sound fabric; the fifth chapter focuses on the rhythm of Toru Takemitsu's works, and the time group of the rhythm is the music. In the concluding part, the paper mainly discusses the relationship between the unique creative ideas and the form and techniques of the works, and summarizes and extends the discussion of this article in the conceptual level.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2007
【分類號(hào)】：J614

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 魏揚(yáng);;武滿徹《詩(shī)篇幻想曲》和聲排列的三維構(gòu)架[J];音樂(lè)研究;2012年02期

相關(guān)博士學(xué)位論文 前2條

1 魏揚(yáng);三首管弦樂(lè)作品中的旋律“音程向位”與和聲“音程位”探究[D];中國(guó)音樂(lè)學(xué)院;2011年

2 王萃;武滿徹和聲技法研究[D];上海音樂(lè)學(xué)院;2008年

相關(guān)碩士學(xué)位論文 前4條

1 任楓;越劇主胡與管弦樂(lè)隊(duì)《越劇印象三則》中的創(chuàng)作技法[D];上海音樂(lè)學(xué)院;2009年

2 李末;20世紀(jì)奏鳴曲式結(jié)構(gòu)原則的變異[D];上海音樂(lè)學(xué)院;2010年

3 劉嫣;武滿徹電影配樂(lè)的理論研究[D];上海音樂(lè)學(xué)院;2010年

4 王馨密;武滿徹《Toward the sea I》的技法研究[D];上海音樂(lè)學(xué)院;2012年

本文編號(hào)：2068588