兴德米特作曲理论分析及应用探究

发布时间：2018-06-15 11:17

本文选题：兴德米特 + 和声理论　；参考：《河北师范大学》2011年硕士论文

【摘要】：保罗·兴德米特是二十世纪有代表性的作曲家、音乐教育家和理论家之一。作为一位音乐理论家,其理论严谨、完备,涉及面比较广,在阐述各种技术运用的方法方面,具体、丰富并且细致,是十分有价值的理论。他的著作《作曲技法》(理论篇、二声部写作练习和三声部写作练习)还被列入二十世纪音乐论著目录。兴德米特的理论概括起来具有两大特征——实用性和现代性。兴德米特作曲技术理论包括了音高材料的组织原则、和声的运用、调性的安排以及作品的分析等等。但如何将其理论运用到实际的创作中去,包括兴德米特的原著以及与之相关的译文和论文的论述均不多,因此该理论的应用仍有待于进一步的探索。我国近代作曲家谭小麟(1911——1948)在美国留学期间,有四年时间师从保罗·兴德米特,对兴氏的作曲理论及其运用深得其精髓。1946——1948年谭小麟在上海音专作曲系任教时,对即将毕业的几位同学重点地讲授了兴氏的和声理论,并具体指导同学在自己的创作中运用这一理论。兴氏理论最简要地说,是将半音阶作为音乐的媒介,将和声、旋律置于半音阶上去研讨去写作,突破了大小调七声音阶的局限;兴氏建立的和弦分类表——依据音序Ⅱ——包括了所有可能有的和弦,在传统和声中几乎不可想象的和弦都在该表中;他提出一系列有关的理论和写作原则(如音序Ⅰ等),将这些和弦连接起来充分发挥作用,开拓了最广阔的和声音响天地。兴氏理论是基于音(泛音列、结合音)的自然特性,自成一科学体系,它对任何时代、任何风格的作品都适用。兴氏坚持音乐按它的自然特性是有调性的。当然,对兴氏理论,国外也有不少文献从不同的角度予以介绍、评论。本文从引言、兴德米特作曲技术理论的特色、兴德米特作曲技术理论创作实践、结语等四个方面进行论述,第一部分引言主要从兴德米特简介、实用性和现代性以及提出问题如何将兴德米特作曲技术理论运用到实际的创作中去来阐述其重要意义;第二部分兴德米特作曲技术理论的特色主要从和弦构成、和弦结构的多样化、和弦根音的特殊性、按物理属性对和弦进行分类、按物理属性确定和弦价值、和声连接、和声起伏、同类同组且根音位置相同的和弦连接时的价值高低、和声运动中各种力的相互补偿作用、“引导音”原则、调性、调性的概念、音(调)关系、调性的确定等方面进行阐述;第三部分兴德米特作曲技术理论创作实践主要从二部骨架写作、利用旋律本身的和声内涵,进行低音声部写作、运用旋律的“级进进行”抽取旋律的骨干音级,并以骨干音级作为“二部骨架”的高音声部进行“二部骨架”的写作、设计“和声起伏”、“和声起伏”的类型、“和声起伏”的设计、和弦的选择、呈示部分的和弦选择、展开部分的和弦选择、作品从属部分的和弦选择、和弦的紧张度比较方法等方面进行阐述;第四部分结语进行归纳总结;本文特别从“二部骨架”的写作与“和声起伏”的设计两个方面入手,对如何将兴氏理论运用到创作实践中去进行了初步的探索。
[Abstract]:Paul Hindemit is one of the representative composers, music educationists and theorists in twentieth Century. As a musical theorist, his theory is strict, complete, and involves a wide range of techniques. It is specific, rich and meticulous in the method of various techniques. His works are ten points of value. The two vocal writing exercises and the three Department writing exercises are also included in the twentieth Century book of music books. Hindemith's theory is summed up with two characteristics - practicality and modernity. The theory of Hindemith's composing technology includes the organizational principles of the pitch materials, the use of harmony, the arrangement of the tunes, and the analysis of the works. How to apply its theory to practical creation, including the original work of Hindemith and the translation and thesis related to it, is not much, so the application of the theory remains to be further explored.
Tan Xiaolin (1911 - 1948), a modern composer in China (1911 - 1948), was taught by Paul Hindemith for four years in the United States. The theory of Xing's composing and its use was deeply rooted in its application. When Tan Xiaolin was taught in Shanghai music school in 1948, some students who were about to graduate were taught the theory of Hsing's harmony. Instruct students to use this theory in their own writing.
Xing's theory, in brief, is to use the semi scale as the medium of music, to study the harmony and the melody in the semi scale, to break through the limitations of the seven tone order of the size tone; the chord classification set up by Xingshi - based on the order II - includes all possible and chords and almost unimaginable chords in traditional harmony. In this form, he puts forward a series of relevant theories and principles of writing (such as word order I), which connect these chords to full play and open up the broadest harmony and sound field. The theory of Xingshi is based on the natural characteristics of sound (the tone column, combined sound), and it is a scientific system, which is applicable to any time and any style of work. Hsing's insistence on music is tunable according to its natural characteristics. Of course, there are many foreign literatures on Xing's theory from different angles.
This article from the introduction, the characteristic of Hindemith's composing technology theory, Hindemith's composing technique theory creation practice, the conclusion and so on four aspects to discuss. The first part of the introduction mainly from the Hindemith brief introduction, the practicality and the modernity, and raises the question how to apply Hindemith composing technique theory to the actual creation. The second part of Hindemith's composing theory is mainly composed of chords, the diversity of the chord structure, the particularity of the chord root sounds, the classification of the chords according to the physical properties, the determination of the chord value according to the physical properties, the harmony of the chord, the harmony of the sound, the harmony of the same chords in the same group and the same chord position. The mutual compensation of all kinds of forces in harmony movement, the principle of "guiding sound", the concept of modulating, tonal, the relationship of tone (tune), and the determination of the tonality; the third part of Hindemith's composing technique theory is mainly written from two skeletons, using the connotations of the harmony of the rhythm itself, making the bass voice writing and using the melody. The "progressive progressive" takes the backbone of the melody and takes the backbone of the "two skeleton" as the "two skeleton", designs the type of "harmony ups and downs", "harmony ups and downs", "harmony ups and downs", the selection of chords, the selection of chords, and the selection of chords in parts. The selection of the subordinate chords and the method of comparison of the tension of the chords is expounded, and the fourth part of the conclusion is summed up. This article, in particular, starts with the two aspects of the writing of the "two skeleton" and the design of the "harmony ups and downs", and makes a preliminary exploration of how to apply Hsing's theory to the creation practice.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J614

【参考文献】