芬尼豪〈第二弦乐四重奏〉及其结构思维

发布时间：2017-12-30 23:49

本文关键词：芬尼豪〈第二弦乐四重奏〉及其结构思维　出处：《上海音乐学院》2012年硕士论文　论文类型：学位论文

【摘要】：本文选取新复杂派代表人物芬尼豪的作品《第二弦乐四重奏(Second String Quartet)》为分析主体,通过对作品音乐参数的自身结构和相互作用的分析,探求该作品的音乐写作技法和结构观念。第一章为背景资料准备,包括新复杂派的的起源于发展、芬尼豪的写作观念和主要作品、国内外的研究现状等。第二章从织体形态、声部对峙方式、静默材料的呈示与变形等方面,罗列、分析了乐曲各阶段的形态和发展,从而划分出《第二弦乐四重奏》的乐段布局。第三章将乐曲中所有的音响材料分为静默材料和有声材料两类分别论述：静默材料以休止为初级状态,在发展中逐渐呈示出次级和高级的变形;有声材料分为主要材料和次要材料,他们实际是一种以节奏参数为骨架,以其他音乐参数填充的织体形式。第四章以作曲家给出的原生音高序列提示为基础,将原生音高序列派生、细化为序列材料系统,综合乐曲中的实例,论述了该曲中音高材料多向、交错的呈示方式。第五章分别分析速度和表情两个参数,并根据各自的发展阶段归类分段。综合比较两个参数相互对峙和呼应的方式,在分段形态上呈中心对称。本文的论述方法主要运用了将音乐参数分别量化、分层分步统计、最终列表归纳等分析方法,并且借鉴了十二音音级集合分析方法的若干理念,通过一系列的比对和提炼,最终得出以下结论：该曲在音乐层面的结构特点即整体结构是各个音乐参数间同向或相向运动的综合结果,其中以节奏参数为主导；又从哲学层面的核心思维考虑：复杂的谱面和逻辑关系,其实质为单纯的“辩证思维”表达。
[Abstract]:This paper selects the works of "second String Quartet" by Finnejo, a representative figure of the New complex School, as the main body of the analysis. Based on the analysis of the structure and interaction of the music parameters of the work, this paper explores the musical writing techniques and the concept of the structure of the work. The first chapter is the preparation of background information, including the origin of the new complex school in the development, Finniott's writing ideas and main works, the domestic and foreign research situation and so on. In the second chapter, the structure of texture, the way of voice confrontation, the presentation and deformation of silent materials are listed, and the shape and development of each stage of the music are analyzed, and the arrangement of the music section of the second string Quartet is divided. In the third chapter, all the sound materials in the music are divided into silent materials and acoustic materials. The silent materials take the rest as the primary state, and gradually show secondary and advanced deformation in the development; Acoustic materials are divided into main materials and secondary materials. They are actually a texture with rhythmic parameters as the skeleton and other musical parameters filled. The 4th chapter is based on the original pitch sequence hint given by the composer. The primary pitch sequence is derived and refined into a sequential material system. The multi-directional pitch material in the music is discussed by synthesizing the examples of the music. A staggered presentation. Chapter 5th analyzes the two parameters of speed and expression, and classifies them into segments according to their respective stages of development, and synthetically compares the ways in which the two parameters are confronted with each other and echoes each other. The discussion method of this paper mainly uses the analysis methods of quantifying the music parameters separately, stratified step statistics, final list induction and so on, and draws lessons from some ideas of the 12 tone level set analysis method. Through a series of comparisons and refinements, the following conclusions are drawn: the structure of the music is the synthesis result of the same or opposite movement among the various musical parameters, and the rhythm parameter is the dominant factor; The essence of the complex spectrum and logic relation is a pure dialectical thought.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J605

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