【摘要】： 支聲廣泛存在于民間音樂(lè)中,是民間多聲部音樂(lè)最常見(jiàn)的織體形式。支聲現(xiàn)象復(fù)雜、形態(tài)各異,不同國(guó)家、地區(qū),不同民族、不同體裁的支聲均表現(xiàn)出了各自不同的特點(diǎn)。為支聲的研究提供了豐富的例證。 西方專業(yè)音樂(lè)的發(fā)展,無(wú)論任何時(shí)代都沒(méi)有脫離與民間音樂(lè)的聯(lián)系,民間音樂(lè)可以說(shuō)是作曲家創(chuàng)作的源泉。他們不僅采用民間的音調(diào),而且也采用民間的題材與體裁;不僅吸收本民族的,也吸收其它民族的。到了現(xiàn)代音樂(lè)時(shí)期,這種傾向越來(lái)越強(qiáng),越來(lái)越多的作曲家從民間音樂(lè)中汲取更多的表現(xiàn)手法。其中對(duì)支聲的進(jìn)一步挖掘與運(yùn)用更是顯而易見(jiàn)。 本文分上、下兩篇。上篇主要以民間音樂(lè)中的支聲現(xiàn)象為依據(jù),圍繞支聲展開(kāi)論述。在“支聲及相關(guān)問(wèn)題的探討”中,對(duì)支聲概念作了更加詳細(xì)的解釋,特別是對(duì)概念中涉及到的“變體”一詞進(jìn)行了具體的說(shuō)明,為后面支聲織體的分類提供了必要的理論依據(jù)。關(guān)于支聲的歸屬,本文明確了觀點(diǎn),并進(jìn)行了論證。 在“民間音樂(lè)中的支聲現(xiàn)象”一章中,對(duì)中國(guó)民間多聲部音樂(lè)中的支聲進(jìn)行了細(xì)致的考察、分析,對(duì)外國(guó)民間音樂(lè)中的支聲在現(xiàn)有資料的情況下進(jìn)行了深入的挖掘。民間音樂(lè)中的支聲不僅形態(tài)極其豐富而且特點(diǎn)也十分鮮明。 “支聲織體類型及音樂(lè)語(yǔ)言特征”是上篇的中心內(nèi)容,本文從旋律的縱向變化和橫向變化兩個(gè)方面對(duì)支聲織體進(jìn)行分類,突出了支聲織體的本質(zhì)特征。在這一內(nèi)容上,具有創(chuàng)新意義的是確立了哪種平行進(jìn)行屬于支聲織體,挖掘出了新的支聲織體展開(kāi)性支聲,做出了綜合性支聲和混合性支聲并用的選擇,并對(duì)其進(jìn)行了明確的區(qū)分。 下篇的論題是支聲在西方現(xiàn)代音樂(lè)中的應(yīng)用。首先是“傳統(tǒng)時(shí)期的回顧”,從奧爾加農(nóng)時(shí)期到浪漫主義時(shí)期。 接下來(lái)是“支聲在西方現(xiàn)代音樂(lè)中應(yīng)用概述”,這一問(wèn)題的關(guān)鍵也是難點(diǎn)是哪些作曲家的哪些作品中應(yīng)用了支聲。通過(guò)翻閱大量的樂(lè)譜及文獻(xiàn),最后選定了西方8個(gè)國(guó)家的21位現(xiàn)代音樂(lè)作曲家的57部作品進(jìn)行研究,為論題的寫(xiě)作開(kāi)拓了道路。本文所運(yùn)用的譜例就是在此基礎(chǔ)上遴選出的。這一章的內(nèi)容包括布里頓的三部教堂寓言劇、支聲在俄羅斯現(xiàn)代音樂(lè)中的應(yīng)用、支聲在美國(guó)現(xiàn)代音樂(lè)中的應(yīng)用和支聲在西方其它國(guó)家及作曲家現(xiàn)代音樂(lè)中的應(yīng)用。 最后一章是“支聲在西方現(xiàn)代音樂(lè)中應(yīng)用的特點(diǎn)”,論述以前一章為基礎(chǔ),對(duì)支聲織體類型及支聲應(yīng)用的特點(diǎn)進(jìn)行總結(jié)。 通過(guò)對(duì)西方現(xiàn)代音樂(lè)中支聲應(yīng)用的分析研究,從中獲取審美經(jīng)驗(yàn),為音樂(lè)創(chuàng)作提供啟示,為音樂(lè)創(chuàng)作中應(yīng)用支聲提供借鑒,從而豐富作曲技法。
[Abstract]:The branch sound exists widely in folk music, and is the most common texture form of folk multi-part music. The phenomenon of branch sound is complicated and its shapes are different. Different countries, regions, different nationalities and different genres all have different characteristics. It provides abundant examples for the study of supporting sound. The development of Western professional music, no matter any time has not separated from folk music, folk music can be said to be the source of composer creation. They adopt not only folk tones, but also folk themes and genres. In the period of modern music, this tendency is stronger and more composers draw more expression from folk music. Among them, the further excavation and application of support sound is more obvious. This paper is divided into two parts. The first part is mainly based on the phenomenon of branch sound in folk music. In the discussion of "supporting sound and related problems", the concept of supporting sound is explained in more detail, especially the term "variant" involved in the concept is explained in detail, which provides the necessary theoretical basis for the classification of supporting sound texture. On the attribution of supporting sound, this paper clarifies the point of view and proves it. In the chapter of "the phenomenon of Branch in Folk Music", this paper makes a careful investigation and analysis of the branch in Chinese folk multi-part music, and deeply excavates the branch sound in foreign folk music under the condition of the existing data. Folk music in the sound not only extremely rich in form and characteristics are also very bright. The main content of the first part is "the types of Branch Sound texture and the characteristics of Musical language". This paper classifies the branch acoustical texture from two aspects of the longitudinal and lateral changes of melody, and highlights the essential characteristics of the branch acoustical texture. In this aspect, it is of great significance to establish which parallel acoustical texture belongs to the branch acoustical texture, excavate out the new branching sound, and make the choice of the combination of the comprehensive branch sound and the mixed branch sound. And made a clear distinction. The theme of the next chapter is the application of music in modern western music. The first is the retrospect of the traditional period, from the Organon period to the Romantic period. Then there is an overview of the application of branch sound in modern western music. The key to this problem is also the difficulty of which composers use it in which works. Through reading a large number of music scores and literature, 57 works of 21 modern music composers from 8 western countries were selected to study, which opened the way for the writing of the topic. The spectral examples used in this paper are selected on this basis. The content of this chapter includes three church allegorical plays by Brighton, the application of branch sound in modern Russian music, the application of branch sound in modern American music, and the application of branch sound in modern music of other western countries and composers. The last chapter is "the characteristics of the Application of Branch Sound in Modern Western Music". Based on the previous chapter, the author summarizes the types of branch sound texture and the characteristics of its application. Through the analysis and research on the application of branch sound in western modern music, we can gain aesthetic experience, provide inspiration for music creation, and provide reference for the application of branch sound in music creation, so as to enrich the composing techniques.
【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 楊云;;鋼琴教材《小宇宙》的音樂(lè)分析——以《農(nóng)夫舞曲》為例[J];音樂(lè)大觀;2012年08期

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本文編號(hào)：2386324