论拱形结构

发布时间：2018-04-25 15:29

本文选题：拱形结构 + 结构形态　；参考：《上海音乐学院》2004年博士论文

【摘要】：拱形结构是一种历经几个世纪发展演化的音乐结构形态，在二十世纪被大量地运用，并且作曲家将这一原则引申为一种思维运用于各种作曲技法之中，从而成为现代作品的一种典型结构。本文正文分上、下两篇共五个章节。上篇“对拱形结构形态及演变的分析”共有三章，主要论述拱形结构在各种体裁音乐作品以及各历史时期的体现形态。第一章“拱形结构概念的界定”，，是本文论述的基础，针对“拱”一词来源于建筑学这一情况，从建筑学上“拱”的结构和力学原理的分析入手，对拱形结构以及拱形原则、拱形曲式等相关概念作出本文的界定。第二章“拱形结构原则的运用”，是本文对拱形结构体现形式分析的主体部分，在对古今中外近百部作品结构分析的基础上，分别论述了：拱形结构原则的集中体现形式——拱形曲式的主要结构形式和结构特点；拱形结构原则在各种大型曲式中的运用状况；拱形结构作为一种“思维方式”，渗透到诸音乐要素的组织手法之中所体现出的主要形态。第三章“拱形结构的演变”，将这一结构原则置入音乐发展历史之中，对拱形原则运用和发展的环节、过程予以梳理，总结其发展演化的轨迹。下篇“对拱形结构形态及演变的思考”共有两章(即正文的第四、第五章)。音乐材料的性质和发展技术手段是决定结构形式的重要因素，音乐材料和技术手段改变，形式亦随之改变；从曲式内部结构的有序性逐渐加强这一发展态势来看，反映了历代作曲家对音乐结构有序性的认识不断加深的过程；所以，第四章分别从材料因素和结构因素两方面论述了拱形结构形态及演化的“音乐本体因素”。第五章首先根据格式塔心理完形理论，提出“音乐结构原则是心理完形的体现”，在此基础上，论述了拱形结构与审美心理平衡发展的关系；又从音乐记忆的角度，阐明拱形结构作为音乐组织的排列思维，对作品整体结构起到高度平衡统一的作用，而作为音乐细胞的排列思维，则在某种程度上迎合了二十世纪的音乐创作和审美观念而得到现代作曲家的青睐。本文通过以上分析、研究、考察、论述，试图对拱形结构——这一二十世纪典型结构形式和结构思维进行较为全面的研究，以期对其所呈现出的音乐结构(或思维)之“源”、“流”、“变”诸形态之间存在的内在关系作较为深入的探讨；同时，也衷心希望本文的写作能为音乐结构学研究提供新的视角，使音乐学家们对音乐形态与审美心理之间的互动关系引起关注。
[Abstract]:The arched structure is a musical structure which has evolved over the centuries and has been widely used in the twentieth century, and the composer has extended this principle to a kind of thinking applied to all kinds of composing techniques. Thus it becomes a typical structure of modern works. The text of this paper is divided into five chapters. There are three chapters in the first part, "Analysis of the shape and Evolution of Arch structure", which mainly discusses the embodiment of Arch structure in various genres of music works and in different historical periods. The first chapter, "the definition of the concept of arch structure", is the basis of this paper. In view of the fact that the word "arch" comes from architecture, the author begins with the analysis of the structure and mechanics principle of "arch" in architecture, and analyzes the structure of arch structure and the principle of arch form. The related concepts such as arch form are defined in this paper. The second chapter, "Application of Arch structure principle", is the main part of the analysis of arched structure, which is based on the analysis of nearly 100 works in ancient, modern and modern times. The paper discusses the main structural forms and structural characteristics of the arched structure principle, the application of the arch structure principle in all kinds of large-scale forms, the arch structure as a "mode of thinking", Permeate into the organization of the elements of music reflected in the main forms. The third chapter, "the evolution of arch structure", puts this structure principle into the history of music development, combs the process of the application and development of the arch principle, and sums up the track of its development and evolution. There are two chapters in the second part, "thinking on the shape and Evolution of Arch structure" (the fourth and fifth chapters of the text). The nature of musical materials and the development of technical means are the important factors that determine the structural form, and the musical materials and technical means change, and the form also changes with it; from the perspective of the gradual strengthening of the order of the internal structure of the musical form, Therefore, the fourth chapter discusses the "musical Noumenon factors" of the arched structure form and evolution from the material factor and the structural factor respectively. In the fifth chapter, according to gestalt mental gestalt theory, the author puts forward that "the principle of music structure is the embodiment of mental gestalt", and on this basis, discusses the relationship between arch structure and the balanced development of aesthetic psychology, and from the perspective of music memory, It is expounded that the arched structure, as the arrangement thought of music organization, plays a highly balanced and unified role in the overall structure of the work, while as the arrangement thinking of the music cell, To some extent, it caters to the musical creation and aesthetic concept of the 20th century and is favored by modern composers. Through the above analysis, research, investigation and discussion, this paper attempts to make a more comprehensive study on the arched structure, which is the typical structural form and structural thinking of the 20th century, in order to study the "source" of its musical structure (or thinking). At the same time, I sincerely hope that the writing of this paper can provide a new perspective for the study of music structure. So that musicologists pay attention to the interaction between music form and aesthetic psychology.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2004
【分类号】：J614

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