巴托克《第三、第四弦乐四重奏》分析与研究
发布时间：2018-10-30 17:48
【摘要】： 作为现代音乐创始人之一的贝拉·巴托克(Bela Bartok,1881—1945)，一直把弦乐四重奏这一古老的体裁作为他创作的重要领域。二十世纪初正是欧洲各种音乐流派争艳盛行的时期，《第三、第四弦乐四重奏》(1927、1928)的音乐风格较集中的反映了受到诸多音乐流派影响的巴托克在这一时期的创作思想和美学原则，作者赋予这一时期(二十世纪二十年代)的大胆试验与创新精神在这两部作品里得到了较鲜明的体现。通过分析与研究这两部作品，对于我们诠释巴托克后来更加成熟的和晚期作品具有重要意义。 巴托克的曲式具有创新意义：《第三弦乐四重奏》是“巴托克式单乐章思维”的一个典型范例；《第四弦乐四重奏》五乐章套曲的拱形结构也是这种特色曲式结构的典型代表作品之一；其中的第四乐章是巴托克的“轴心体系”与“黄金标界”的精确体现。此外，主导动机贯穿的手法则是巴托克在运用现代的音乐语言的基础上对贝多芬晚期的“贯穿曲式”的继承与发扬。 巴托克的和声同样具有创新意义：他也采用序列作曲，他的“调式半音体系”是在对民间音乐多调式综合的基础上建立的，他的富有特色的和声音响是现代和声与民间音乐结合。 巴托克不是封闭的，，在吸收现代作曲技法的同时又坚持自己的创作思想和美学原则，“调性原则”是他克服众多音乐流派影响的基石。 巴托克的创作大致经历了从早期的初步探索——大胆试验创新时期——创作的辉煌时期和晚期三个阶段，这三个阶段音乐风格的转变恰好形成了一个倒∪字形——∩。而《第三、第四弦乐四重奏》》正好处于∩字形的顶部。在分析《第三、第四弦乐四重奏》的同时，又结合着对这三个不同时期作品的分析不仅能使我们加深对两部作品的理解，而且还能使我们从更高的角度、更全面的把握巴托克的创作思想和美学原则。
[Abstract]:As one of the founders of modern music, Bela Bartok,1881-1945 always regards string quartet as an important field of his creation. The beginning of the twentieth century was a period when all kinds of music schools in Europe were in vogue. The musical style of the fourth string quartet (1927, 1928) reflects Bartok's creative ideas and aesthetic principles in this period, which are influenced by many musical schools. The spirit of bold experiment and innovation given by the author in this period (1920s) has been clearly reflected in these two works. Through the analysis and study of these two works, it is of great significance for us to interpret Bartock's more mature and late works. Bartok's form is of innovative significance: the third string Quartet is a typical example of Bartok's thinking of single movement; The arched structure of the five-movement ensemble is also one of the typical works of the characteristic musical structure, and the fourth movement is the exact embodiment of Bartok's "axis system" and "gold demarcation". In addition, the dominant motivation is Bartock's inheritance and development of Beethoven's late "penetrating form" on the basis of the use of modern musical language. Bartok's harmonies are also innovative: he also uses sequences to compose music, and his "tone semitone system" is built on the basis of a multi-modal synthesis of folk music. His distinctive harmony sound is a combination of modern harmony and folk music. Bartok is not closed. He absorbs modern composing techniques and adheres to his own creative thought and aesthetic principle. "Tonal principle" is the cornerstone of his overcoming the influence of many music schools. Bartok's creation has experienced three stages from the early exploration-the period of bold experiment and innovation-to the brilliant period and the late stage of creation. And third, the fourth string quartet > is just at the top of the shape. In the analysis of the third, fourth string Quartet, combined with the analysis of the works of these three different periods, not only can we deepen our understanding of the two works, but also make us from a higher perspective. A more comprehensive grasp of Bartok's creative thought and aesthetic principles.
【学位授予单位】：首都师范大学
【学位级别】：硕士
【学位授予年份】：2002
【分类号】：J657.64
本文编号：2300726
[Abstract]:As one of the founders of modern music, Bela Bartok,1881-1945 always regards string quartet as an important field of his creation. The beginning of the twentieth century was a period when all kinds of music schools in Europe were in vogue. The musical style of the fourth string quartet (1927, 1928) reflects Bartok's creative ideas and aesthetic principles in this period, which are influenced by many musical schools. The spirit of bold experiment and innovation given by the author in this period (1920s) has been clearly reflected in these two works. Through the analysis and study of these two works, it is of great significance for us to interpret Bartock's more mature and late works. Bartok's form is of innovative significance: the third string Quartet is a typical example of Bartok's thinking of single movement; The arched structure of the five-movement ensemble is also one of the typical works of the characteristic musical structure, and the fourth movement is the exact embodiment of Bartok's "axis system" and "gold demarcation". In addition, the dominant motivation is Bartock's inheritance and development of Beethoven's late "penetrating form" on the basis of the use of modern musical language. Bartok's harmonies are also innovative: he also uses sequences to compose music, and his "tone semitone system" is built on the basis of a multi-modal synthesis of folk music. His distinctive harmony sound is a combination of modern harmony and folk music. Bartok is not closed. He absorbs modern composing techniques and adheres to his own creative thought and aesthetic principle. "Tonal principle" is the cornerstone of his overcoming the influence of many music schools. Bartok's creation has experienced three stages from the early exploration-the period of bold experiment and innovation-to the brilliant period and the late stage of creation. And third, the fourth string quartet > is just at the top of the shape. In the analysis of the third, fourth string Quartet, combined with the analysis of the works of these three different periods, not only can we deepen our understanding of the two works, but also make us from a higher perspective. A more comprehensive grasp of Bartok's creative thought and aesthetic principles.
【学位授予单位】：首都师范大学
【学位级别】：硕士
【学位授予年份】：2002
【分类号】：J657.64
【引证文献】
相关硕士学位论文 前2条
1 刘利剑;论巴托克音乐创作风格[D];东北师范大学;2007年
2 刘晓林;巴托克《第五弦乐四重奏》和声研究[D];山东师范大学;2013年
本文编号：2300726
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