雷格尔的复调技法探索

发布时间：2018-02-09 21:03

本文关键词： 马克斯·雷格尔巴赫贝多芬舒曼布拉姆斯瓦格纳胡戈·里曼变奏曲赋格曲复调技法　出处：《上海音乐学院》2005年博士论文　论文类型：学位论文

【摘要】：马克斯·雷格尔(1873-1916)作为十九世纪晚期浪漫乐派传统音乐的最后一位复调大师,其复调技法主要体现在变奏曲和赋格曲的创作中。变奏曲与赋格曲在他全部的作品中占有相当的数量和份量,是雷格尔一生非常感兴趣并投其极大精力的重要体裁。雷格尔变奏曲和赋格曲的创作技法既显示了他受到巴赫、贝多芬、舒曼和布拉姆斯的影响,又体现了他在变奏曲与赋格曲中在动机的衍生和结构上有所创新的方法。他能非同凡响而令人震惊地把浪漫主义精神与巴赫的复调音乐如此巧妙地结合在一起,同时融合了布拉姆斯的古典主义之精髓与瓦格纳的半音技法,写出了具有很高天赋的对位技术与错综复杂而难以捉摸的器乐复调音乐。本课题从复调发展的视角,通过对雷格尔的变奏曲和赋格曲的分析、考察和研究,探索他的复调技法,并给予历史评价,从中得到创作上的启示。本研究分为五章。第一章对雷格尔音乐个性的形成进行了概述,尤其是对其早期受胡戈·里曼的影响作了分析。本章还探讨了雷格尔对评论家们的批评所表现出来的无法容忍的态度,和他经常对批评立即作出的反应,以及为扩大影响,他对四处周游尽可能多地指挥或演奏自己作品的痴迷。第二章是对雷格尔的音乐风格与变奏原则的概述,包括对他在作曲技法发展上有重要意义的作品以及其他一些作品进行了归纳。第三章有选择地分析了雷格尔的几部大型变奏曲作品,其中包括:Op.81,Op.86,Op.100和Op.132等。第四章是对雷格尔赋格写作的概述与研究,同时有选择地分析了他在管风琴、钢琴、室内乐以及管弦乐领域里的赋格技法。第五章是结语部分。雷格尔的变奏曲与赋格曲对发展这两种古老的曲式或体裁的创作技法有着巨大的贡献,支撑他那繁复绵长作品风格的是他的创新精神和扎实的作曲技法,因此对其进行更深入的研究是十分必要的。
[Abstract]:Max Ragger, 1873-1916) as the last polyphony of the late romantic tradition in 19th century, His polyphonic techniques are mainly embodied in the creation of variations and fugue, which occupy a considerable number and weight in all his works. It is an important genre in which Ragger was very interested and devoted great energy to his life. The techniques of his variations and fugue show that he was influenced by Bach, Beethoven, Schumann, and Brahms. It also reflects his innovative approach to the derivation and structure of motivation in variations and fugue. He is able to combine the romantic spirit with Bach's polyphonic music in such an extraordinary and shocking way. At the same time, combining the essence of Brahms' classicism with Wagner's semitone technique, he wrote the highly gifted antithesis technique and the intricate and elusive instrumental polyphonic music. From the perspective of polyphonic development, through the analysis, investigation and research of Ragger's variations and fugue, this paper explores his polyphonic techniques, and gives historical evaluation, from which the inspiration of his creation is obtained. This study is divided into five chapters. The first chapter summarizes the formation of Regel's musical personality. In particular, an analysis of his early exposure to the influence of Hugo Riemann. This chapter also explores the intolerable attitude shown by Regel to critics, his frequent immediate reaction to criticism, and the expansion of his influence. His obsession with directing or playing as much of his work as possible around Zhou You. The second chapter is an overview of Ragger's musical style and variation principles, including his works of great significance in the development of composing techniques and some other works. In the third chapter, several works of Reagher's large variations are analyzed selectively, including: Op. 81, Op. 86, Op. 100, Op.132, and so on. Chapter 4th is an overview and study of Riegel Fugue's writing, and a selective analysis of his fugue techniques in the field of organ, piano, chamber music and orchestral music. Chapter 5th is the conclusion. Regel's variations and fugue have made great contributions to the development of these two ancient forms or genres of creative techniques. His innovative spirit and solid composition techniques underpin his complicated and long work style. Therefore, it is necessary to study it more deeply.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2005
【分类号】：J614.3

【引证文献】