發(fā)布時(shí)間：2018-11-02 19:53

【摘要】： 英國現(xiàn)代作曲家邁克爾·蒂皮特一生共創(chuàng)作了四部交響曲。這四部交響曲都是其優(yōu)秀的代表作品,也是20世紀(jì)重要的大型音樂文獻(xiàn)。本文從曲式結(jié)構(gòu)、音高、節(jié)奏、節(jié)拍、和聲、復(fù)調(diào)、調(diào)式、調(diào)性、配器等角度分析研究了蒂皮特的交響曲創(chuàng)作,根據(jù)分析的結(jié)果探討了他交響曲作曲技術(shù)與風(fēng)格中“保守”與“革新”的問題。蒂皮特的作曲技術(shù)與風(fēng)格中既有普遍被認(rèn)為的保守傾向,也有未被廣泛注意的革新方面。 本文根據(jù)不同類型的音樂采用了不同的手段分析作品,既有現(xiàn)代音樂分析技法也有傳統(tǒng)音樂分析手段,如后申克音樂分析技術(shù)、泛調(diào)性、潛調(diào)性的分析技術(shù)以及調(diào)性音樂的分析技術(shù),并總結(jié)了作品中有特性、有代表性的內(nèi)部技法規(guī)律與風(fēng)格特征。 在曲式結(jié)構(gòu)上,前兩部交響曲保持了古典四樂章的結(jié)構(gòu);《第三交響曲》把古典四樂章模式納入了兩大部分的結(jié)構(gòu);而《第四交響曲》是單樂章交響詩的設(shè)計(jì),但又隱含了古典四樂章的結(jié)構(gòu)。四部作品各樂章的內(nèi)部結(jié)構(gòu)也有頗多新穎之處。 交響曲中的橫向音高進(jìn)行主要是綜合音階形成的非半音化風(fēng)格。在節(jié)奏、節(jié)拍方面,作曲家用多種方式打破了節(jié)奏的勻稱性與重音循環(huán)的規(guī)律性。 在和聲實(shí)踐中,交響曲有繼承古典和聲體系的部分,也存在許多革新之處,如復(fù)雜的和弦結(jié)構(gòu)與非功能性的和聲進(jìn)行改變了傳統(tǒng)的和聲意義與價(jià)值;中心音響與和聲場的技術(shù)使和聲帶有濃郁的現(xiàn)代氣息。在復(fù)調(diào)方面,交響曲中使用的雙調(diào)性與多調(diào)性復(fù)調(diào)、節(jié)奏復(fù)調(diào)、復(fù)節(jié)拍復(fù)調(diào)、復(fù)風(fēng)格復(fù)調(diào)、雙調(diào)式復(fù)調(diào)、群體復(fù)調(diào)等結(jié)構(gòu)類型,有濃郁的現(xiàn)代作曲技術(shù)特征。 調(diào)式上有“多樣的調(diào)式類型”、“復(fù)雜的調(diào)式音列”、“多調(diào)式的縱向疊置”三個(gè)主要特點(diǎn),而在調(diào)性上,作品有“調(diào)性相對(duì)主義”、“雙調(diào)性與多調(diào)性”、“泛調(diào)性”等特征。交響曲的配器以素描風(fēng)格為主,但也涉及到彩繪手法與點(diǎn)描風(fēng)格。“神秘音響”的出現(xiàn)、打擊樂器的豐富與鼓風(fēng)機(jī)的使用等特點(diǎn)體現(xiàn)了蒂皮特對(duì)音色的追求。蒂皮特的前兩部交響曲顯示了后浪漫主義與新古典主義結(jié)合的風(fēng)格特征�！兜谌豁懬穾в行吕寺髁x與后表現(xiàn)主義結(jié)合的風(fēng)格特征�！兜谒慕豁懬穭t具有新現(xiàn)實(shí)主義的風(fēng)格傾向。 蒂皮特的交響曲創(chuàng)作一方面承遞了音樂傳統(tǒng)的精華,另一方面穩(wěn)健地發(fā)展了合理的技術(shù)與風(fēng)格,兩方面都恰當(dāng)?shù)嘏c藝術(shù)內(nèi)容的表達(dá)相結(jié)合。
[Abstract]:Michael Tippet, a modern English composer, wrote four symphonies in his life. These four symphonies are their outstanding representative works and important musical documents in the 20 th century. This paper analyzes and studies Tippet's symphony from the aspects of musical structure, pitch, rhythm, harmony, polyphony, modulation, tonality, orchestration, etc. According to the results of the analysis, the problems of "conservatism" and "innovation" in his symphony composition technique and style are discussed. Tippet's composition techniques and styles have both generally considered conservative tendencies and unnoticed aspects of innovation. According to different types of music, this paper uses different means to analyze works, both modern music analysis techniques and traditional music analysis methods, such as post-schenck music analysis technology, pan-tonality. The analysis technology of the latent tone and the analysis technology of the tonality music, and summarized the characteristic and representative internal skill law and style characteristic in the work. The first two symphonies maintain the structure of the classical four-movement, the third Symphony takes the classical four-movement model into the structure of the two parts. The fourth Symphony is a single movement symphonic poem design, but also implies the structure of classical four movements. The internal structure of each movement of the four works is also quite novel. The transversal pitch in the symphony is mainly a non-semitone style formed by synthesizing the scale. In rhythm and rhythm, composers break the regularity of rhythm and stress cycle in many ways. In the practice of harmony, the symphony inherits the classical harmony system, and there are many innovations, such as the complex chord structure and the non-functional harmony to change the meaning and value of the traditional harmony; Central sound and sound field technology makes harmony with a strong modern flavor. In the aspect of polyphony, the structure types of the symphonies, such as double tone and polytone, rhythm polyphony, polyrhythm polyphony, polyphonic style polyphony, double tone polyphony, group polyphony and so on, have rich technical characteristics of modern composition. There are three main features in mode, such as "various mode types", "complex tone series", "vertical superposition of multi-mode", and "tonality relativism", "dual tonality and polytonicity" in tonality, while in tonality, there are three main features: "tonality relativism", "double tonality and polytonicity". "pan-tonality" and other characteristics. The orchestration of the symphony is mainly sketch style, but it also involves painting technique and dot drawing style. The appearance of mystic sound, the richness of percussion instruments and the use of blower reflect Tippet's pursuit of timbre. Tippet's first two symphonies show the style features of the combination of post-Romanticism and Neo-classicism. < Symphony No. 3 > has the stylistic features of the combination of Neo-Romanticism and Post-Expressionism. The fourth Symphony is characterized by a combination of post-Romanticism and Neo-classicism. The tendency of neo-realism in style. Tippet's symphony on the one hand inherits the essence of music tradition, on the other hand, develops reasonable technology and style, both of which are properly combined with the expression of artistic content.
【學(xué)位授予單位】：中央音樂學(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2條

1 檀革勝;;從三部交響曲看英國現(xiàn)代音樂的“保守”和“堅(jiān)守”[J];天津音樂學(xué)院學(xué)報(bào);2012年01期

2 石楊;;淺談高職學(xué)院中的鋼琴教學(xué)[J];商業(yè)文化(上半月);2012年05期

相關(guān)碩士學(xué)位論文 前1條

1 葉曉晨;保羅·興德米特音樂作品中結(jié)構(gòu)思維研究[D];西安音樂學(xué)院;2010年

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本文編號(hào)：2306795