德彪西音乐中的“意识流”现象初探

发布时间：2018-03-15 22:07

本文选题：德彪西　切入点：意识流　出处：《上海音乐学院》2005年硕士论文　论文类型：学位论文

【摘要】：本文以德彪西的音乐作品为研究对象,以对其音乐作品的文本—乐谱分析为出发点,借用心理学研究领域中的“意识流”这一概念,结合应用哲学—语言学中对“结构”的研究方法和结论,对其音乐之形式化过程中所体现出来的“意识流”现象进行了有别于传统曲式学分析的多纬度研究,并希望通过这样的研究得出对作曲家的创作心理规律和结构审美心理的研究结论,并最终探寻作曲家在意识中对音乐天然结构态的认知。本文内容包括绪论、论文主体以及结语三大部分,论文主体又分三个章节予以论述。绪论部分主要就德彪西音乐研究的相关背景、音乐分析以及本文研究所要涉及的其他学科研究的相关内容进行了扼要的介绍。论文主体的第一章除了对研究的范围特别是研究对象的范畴予以了一定的界定外,并简要阐述了哲学-心理学、结构学,以及音乐分析各领域的研究所面对的具体对象、问题及预期的解决方案等相关内容;第二章着重讨论一般意识流的定义以及意识流现象在音乐形态中的体现;第三章结合实际音乐作品研究了德彪西音乐作品中的结构绵延和绵延结构以及其作品中内在时间的结构比例,从而论证了其音乐作品结构设计、结构思维中所具有的“意识流”现象。结语不仅总结了全文,并进一步对文章的中心论点进行了适当的补充论述。
[Abstract]:This paper takes Debussy's music works as the research object, takes the text-music score analysis of his music works as the starting point, and borrows the concept of "stream of consciousness" in the field of psychological research. Combined with the research methods and conclusions of "structure" in applied philosophy and linguistics, the "stream of consciousness" phenomenon embodied in the formalization process of its music is studied at various latitudes, which are different from the traditional musical analysis. It is hoped that the conclusion of the research on the composers' creative psychological law and structural aesthetic psychology will be obtained through such a study, and finally the composer's cognition of the natural structural state of music in his consciousness will be explored. The main body of the thesis and the conclusion are discussed in three chapters. The introduction is mainly about the background of Debussy's music research. Music analysis and related contents of other disciplines involved in this study are briefly introduced. The first chapter of the thesis not only defines the scope of the study, especially the category of the object of study, but also defines the scope of the study, especially the category of the object of study. It also briefly describes the specific objects, problems and expected solutions faced by the research institutes in the fields of philosophy-psychology, structure, and music analysis. The second chapter mainly discusses the definition of general stream of consciousness and the embodiment of the phenomenon of stream of consciousness in music form. The third chapter studies the structure of Debussy's musical works and the proportion of time in his music works, and then demonstrates the structure design of Debussy's music works. The conclusion not only summarizes the full text, but also makes an appropriate supplementary exposition to the central argument of the article.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：J605

【引证文献】