克热内克弦乐四重奏中的十二音技法研究

发布时间：2018-03-30 10:39

本文选题：克热内克　切入点：十二音技法　出处：《南京艺术学院》2009年博士论文

【摘要】： 恩斯特·克热内克(Ernst Krenek,1900-1991),美籍奥地利作曲家、指挥家和钢琴家,同时也是音乐评论家和音乐教育家。他一生创作了大量各种风格流派的作品,其中十二音技法是他持续时间最长,创作作品最多的技法之一。克热内克一共创作了八首弦乐四重奏,其中第六、第七、第八三首弦乐四重奏均采用十二音技法写作而成。三个作品分别创作于不同的时期,研究三首弦乐四重奏十二音技法在不同阶段的表现形式,对于深入了解作曲家的创作思路、风格特征的演变等具有重要意义。该论文由绪论、五个章节、结语构成: 绪论是有关克氏的生平、艺术成就及八首弦乐四重奏的综述。对他的十二音作品进行梳理以及八首弦乐四重奏进行概括性总结,并理清相关概念。第一章大致阐述第六弦乐四重奏的创作背景,研究第六弦乐四重奏严格的十二音单一序列原则的运用,在分析中重点关注单一序列初始音高的变化,即潜在调性与十二音主题形态。第二章大致阐述第七弦乐四重奏创作背景,用音级集合理论分析出三音组音高置换关系统一贯穿全曲的思路,以及主题片段音高置换与自由十二音主题形态。第三章大致阐述第八弦乐四重奏创作背景,该曲主要运用自由十二音与多元风格材料拼贴技法相结合,并组成新的有机统一体。第四章在十二音技法基础上对三首作品在和声、曲式、复调、配器、织体、节奏等方面的特点作概括性梳理。第五章从三首作品表现形式到演变过程看克热内克对十二音技法拓展的思路和观念。结语在总结全文的基础上,探寻作曲家拓展思路的美学意义。同时,也充分肯定了克热内克对十二音技法拓展方面起到的作用以及他的思路对当代创作的启示。
[Abstract]:Ernst Krenekian, an Austrian American composer, conductor, pianist, and music critic and educator, wrote a large number of works of various genres throughout his life, of which the 12-tone technique was his longest. One of the most creative techniques. Kjenek has created eight string quartets, of which the sixth, seventh, and eighty-third string quartets are all written using the 12-tone technique. The three works were created at different times. It is of great significance to study the expression forms of three string quartet techniques in different stages for the further understanding of the composer's creative ideas and the evolution of style characteristics. The thesis is composed of five chapters and conclusion:. The introduction is a summary of his life, artistic achievements and eight string quartets. It summarizes his works of twelve notes and eight string quartets, and clarifies the related concepts. The first chapter describes the background of the creation of the sixth string quartet, studies the application of the strict principle of the 12-tone single sequence of the sixth string quartet, and focuses on the change of the initial pitch of the single sequence in the analysis. That is, potential tonality and 12-tone theme form. In the second chapter, the background of the seventh string quartet is briefly described, and the idea of the unity of the three group pitch replacement relationship through the whole song is analyzed by using the level set theory, as well as the theme segment pitch replacement and the free twelve tone theme form. The third chapter describes the background of the eighth string quartet, which mainly combines free twelve notes with multi-style material collage techniques, and forms a new organic unity. The fourth chapter summarizes the characteristics of the three works in harmony, music, polyphony, orchestration, texture, rhythm and so on. The fifth chapter from the three works form to the evolution of Kjenek's ideas and ideas on the development of twelve-tone techniques. On the basis of summing up the full text, the conclusion explores the aesthetic significance of the composer's idea of expanding, and at the same time, fully affirms the role played by Kejenek in the development of the 12-tone technique and the enlightenment of his thinking to contemporary creation.
【学位授予单位】：南京艺术学院
【学位级别】：博士
【学位授予年份】：2009
【分类号】：J614

【引证文献】