欣德米特《作曲技法》的理论原理及其对中国专业音乐创作的影响

发布时间：2018-06-13 05:59

本文选题：欣德米特 + 作曲技法　；参考：《上海音乐学院》2017年硕士论文

【摘要】：保罗·欣德米特(Paul Hindemith,1895-1963)是20世纪著名作曲家、音乐理论家。他出生于1895年的德国。此时的欧洲音乐正处于浪漫主义晚期,越来越多的作曲家认为"共性音乐"已被写尽,并开始用自己的方式来寻求突破。在这样的音乐环境中,欣德米特选择了一个相对"保守"的方式来进行音乐创作实践和音乐理论研究。欣德米特是我国近代作曲家谭小麟先生的老师,谭小麟先生则培育了我国当代著名作曲家罗忠昒先生等。罗忠昒又将其学术精髓传承给了陈其钢等人。可以说,欣德米特对中国近现当代创作发展的影响是绵长而深远的。因此,研究其理论,对了解部分中国作曲家的创作与作曲技术发展的脉络也有着重要意义。本论文的研究主要基于欣德米特的著作《作曲技法》,对近现当代的三位中国作曲家在不同层面上受欣德米特理论影响的作品进行分析。论文主要分为绪论、一至五章、结语七个部分。首先研究了欣德米特理论的形成、在中国的传播和对中国音乐创作的影响等问题;然后是对欣德米特理论的研究,将其理论核心归纳为调性观念、和声理论以及旋律写作法三个部分,讨论了他是如何将三个观念统一成一个三位一体、富有逻辑的理论系统中;接着分别选择三位中国作曲家的作品,谭小麟的艺术歌曲《彭浪矶》、罗忠昒的《木管五重奏》和陈其钢的《蝶恋花》第一乐章"纯洁",结合欣德米特理论进行分析,并讨论了欣德米特理论运用在中国音乐创作实践中的一些问题。任何一种理论,或者音乐分析的方法,都有自己的局限性或针对的目标。那么,欣德米特的理论是否适用于中国音乐的分析、创作?这亦是我们后人需要深入了解,并理清的基本问题。文章的最后对欣德米特理论的意义、局限性以及在中国音乐创作实践等问题进行了探讨与总结,希望能够对欣德米特理论研究、中国近代作曲技术的发展脉络以及部分受欣德米特理论影响的作曲家的作品研究等问题提供一些借鉴。
[Abstract]:Paul Hindemitht (1895-1963) is a famous composer and music theorist in the 20 th century. He was born in Germany in 1895. At this time, European music is in the late romanticism, more and more composers think that "common music" has been written, and began to use their own way to find a breakthrough. In such a musical environment, Hindermitt chose a relatively "conservative" approach to music creation practice and music theory research. Hindermitt is the teacher of Mr. Tan Xiaolin, a modern composer in China, while Mr. Tan Xiaolin nurtured Mr. Luo Zhongwei, a famous composer in our country. Luo Zhongnan passed on his academic essence to Chen Qigang and others. It can be said that Hindermitt's influence on the development of modern and contemporary Chinese creation is long and profound. Therefore, it is of great significance to study its theory to understand the development of composing and composing techniques of some Chinese composers. The research of this thesis is mainly based on Hindermitt's work "composition techniques", and analyzes three contemporary Chinese composers' works influenced by Hindermitt's theory on different levels. The paper is divided into introduction, one to five chapters, the conclusion of seven parts. Firstly, it studies the formation of Hindermitt's theory, its spread in China and its influence on Chinese music creation, and then summarizes the core of Hindermitt's theory into the concept of tonality. It discusses how he unifies the three concepts into a trinity and logical theoretical system, and then selects the works of three Chinese composers. Tan Xiaolin's artistic song Peng Langji, Luo Zhongnian's woodwind quintet and Chen Qigang's first movement Pure, are analyzed in conjunction with Hindermitt's theory. It also discusses some problems in the application of Hindermitt's theory in Chinese music creation practice. Any theory, or method of music analysis, has its own limitations or targets. So, is Hindermitt's theory applicable to the analysis and creation of Chinese music? This is also the basic problem that future generations need to understand and clear up. At the end of the article, the author discusses and summarizes the significance, limitation and practice of Hindermitt's theory in China, hoping to study Hindermitt's theory. The development of modern Chinese composing technology and the research of some composers' works influenced by Hindermitt's theory provide some references.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J614-5

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