论米约的双钢琴组曲《丑角》

发布时间：2018-04-20 13:12

本文选题：米约 + 循环性　；参考：《西南大学》2011年硕士论文

【摘要】：法国二十世纪继德彪西之后最伟大的作曲家之一,“六人团”的核心成员达律斯·米约在近六十年的创作生涯中,为世人留下了443部作品。在他漫长的一生中,对他的生活与创作产生重要影响的应该是法国、巴西和美国这三个地方,而且米约是先后主要在法国—巴西—法国—美国—法国以循环的形式度过他的一生的,所以将其称为“循环性”的人生历程。对于米约的音乐作品也可谓良莠不齐,但是他的作品总会在不同的程度上体现出“传统性”、“现代性”和“异域性”的结合,更多的是以其中一种因素为主,同时又伴有另一种或两种因素的一种“兼容性”的音乐风格。在米约众多的音乐作品中,双钢琴组曲《丑角》称得上是双钢琴这种体裁的典范之作。这首组曲的三个乐章总共运用了八个音调清晰、节奏分明的主题旋律,有的主题旋律还是以单声部的织体形式来呈示的,主题以单声部的形式来呈示不仅强化了主题的旋律性,而且也表明旋律是作品中重要的表现手段之一。另外,就总体而言,组曲《丑角》的宏观结构是清晰、明确的,功能性的和声进行也随处可见。但是,这并不能说米约在创作这首作品时使用的手法过于保守,因为在作品中也大量使用了二度、四度和五度这些二十世纪的多样化的和弦结构手法和连续的四六和弦、连续的七和弦的和声进行以及复合和弦等前卫而又丰富的和声手法。作为套曲,《丑角》在调性布局上也表现出一定的自由性,三个乐章的主调分别是C大调、bB大调和F大调,与传统的大多数套曲不同,组曲的末乐章没有再现第一乐章的主调而是以开放的形式结束在下属大调。从对曲式结构的细部处理也能看出米约在作曲手法上的创意,与传统的手法不同,米约在处理各乐章的复三部曲式时,在复三的第一部分与三声中部之间都使用了连接,这样则削弱了两者间的对比,而不是使两者处于并置对比的状态,象这样使创作趋于自由化的手法在作品中还有很多。组曲的第三乐章是一首巴西风格的桑巴舞。实际上,在组曲《丑角》中,米约音乐风格的“传统性”、“现代性”和“异域性”三因素也表现得非常鲜明,也可以说组曲《丑角》的音乐风格是这三种因素的“兼容”。
[Abstract]:After Debussy, one of France's greatest composers in the 20th century, Darius Miyo, a core member of the Six-member, has left 443 works for the world in his nearly sixty years of creative life. During his long life, it was France, Brazil and the United States that had an important impact on his life and creation. And Miyo has mainly spent his life in France-Brazil-France-America-France in the form of cycle, so it is called "cycle" of life process. Miyo's musical works can be described as mixed, but his works always reflect the combination of "tradition", "modernity" and "heterogeneity" to varying degrees, and most of them are based on one of the factors. A "compatible" style of music accompanied by another factor or two. Among Miyo's many musical works, the double Piano Suite (clown) is a model of the double Piano genre. In all, the three movements of the suite use eight clear, rhythmic thematic melodies, some of which are presented in the form of monophonic textures, which not only reinforce the melody of the theme, but also the monophonic form. It also shows that melody is one of the important means of expression in the works. In addition, overall, the macro-structure of Suite "clown" is clear, clear, functional harmony is also everywhere. But this is not to say that Miyo was too conservative in his work, because he also used a lot of two-, four- and five-degree two-, four- and five-degree two- century chord structures and a series of four or six chords. Successive harmonies of seven chords and complex chords and other avant-garde and rich harmony techniques. As an ensemble, the clown also shows a certain degree of freedom in its tonality layout. The main tones of the three movements are C major B B major and F major, which is different from most traditional routines. The final movement of the suite does not reproduce the main tone of the first movement but ends in subordinate major in an open form. From the detailed treatment of the composition structure, we can also see that Miyo's originality in composing techniques is different from the traditional method. When Miyo deals with the complex trilogy of each movement, he uses a connection between the first part of the composition and the middle part of the triple sound. This weakens the contrast between the two, rather than putting them in a state of juxtaposition, and there are still many ways to liberalize the creation. The third movement of the suite is a Brazilian-style samba. In fact, the "tradition", "modernity" and "heterogeneity" of Miyo's musical style are also very distinct in Suite "clown", and it can be said that the musical style of Suite "clown" is the "compatibility" of these three factors.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J614

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