量子音乐论的展衍假说：音乐结构研究的波粒二象映喻机制

发布时间：2018-03-30 05:00

本文选题：假说　切入点：音乐结构研究　出处：《江西师范大学》2005年硕士论文

【摘要】：音乐结构研究近年来已成为国内外许多音乐理论家关注的学术焦点,他们站在各自不同的学科角度对音乐结构进行多样化的丰富各异的研究:早在上个世纪六十年代我国著名音乐理论家,作曲家吴祖强先生就提出了他的“广义”、“狭义”音乐结构观点,指出广义的音乐结构是指乐曲中所运用的一切表现手段的综合,而狭义的音乐结构则是指音乐的段落安排,组合逻辑,即所谓曲式结构。在当时此观点具有一定的代表性和权威性;上个世纪八十年代到本世纪初,我国著名音乐理论家、作曲家和音乐教育家赵晓生先生的音乐结构研究经历了从二元论到多元论的发展和演进,在音乐理论界具有一定的代表性和典型性,反映出了音乐结构研究汇集了心理学、声响学等其它学科领域的宏观上的多元化演进;同时,音乐结构研究中的徽观具体化技术研究仍呈主流态势,许多音乐理论家仍潜心钻研于音乐本体技术结构领域的探索寻源等等。本篇就音乐结构研究的主旨课题,第一章将以1994年美国音乐博士曼特尔·胡德(Mentel Hood)提出的“量子音乐论”为原动点,以量子论的实验基础物质的波粒二象性为切入点,映射于音乐结构研究中,进行一系列的展衍推理,拟构筑波粒二象映喻机制的理论假说:创意性地将量子物质波粒二象性映射于音乐结构研究中,隐喻着音乐结构中乐结构之一的波象音乐心理审美场和音结构之一的粒象音乐能量场,并利用音乐心理学的三种研究模式操作流程化,使得音乐结构研究既注重了细节修饰的局部特征,又兼顾整体全局的宏观统一;第二章将前文的理论假说付诸于实践演释,以巴赫和肖斯塔科维奇两位不同时期不同风格的作曲家对前奏曲与赋格同一音乐体裁的不同理解为分析范本,全面操作演示了音乐结构研究波粒二象映喻机制的实际运用。由此全文分别从理论阐述和试验诠释两个角度对音乐结构研究的波粒二象映喻机制,即量子音乐论的展衍假说进行了详细的阐释。
[Abstract]:In recent years, the study of music structure has become the academic focus of many music theorists at home and abroad. They have diversified and varied studies of the music structure from different academic perspectives: as early as the 1960s, our country's famous music theorists, Composer Wu Zuqiang put forward his viewpoint of "broad sense" and "narrow sense" of musical structure, pointing out that broad musical structure refers to the synthesis of all means of expression used in music, while narrow musical structure refers to the arrangement of music paragraphs. Combinatorial logic, the so-called musical structure, was representative and authoritative at that time. From the 1980s to the beginning of this century, our country's famous music theorists, The research on music structure of composer and music educator Mr. Zhao Xiaosheng has gone through the development and evolution from dualism to pluralism, and has certain representativeness and typicality in the field of music theory, which reflects that the study of music structure is a collection of psychology. At the same time, there is still a mainstream trend in the study of the concept of embellishment in the study of music structure. Many music theorists are still studying in the field of music ontology technology structure, and so on. In the first chapter, "quantum music theory" proposed by Mentel Hoodin, American music doctor in 1994, is taken as the original point of action, and the wave-particle duality of the experimental basic matter of quantum theory is taken as the breakthrough point, which is mapped to the study of music structure. A series of extrapolation reasoning is carried out to construct the theoretical hypothesis of wave-particle mapping mechanism: to creatively map the wave-particle duality of quantum matter to the study of music structure. It symbolizes the aesthetic field of wave music and the energy field of image music, which is one of the musical structures in music structure, and uses the three research modes of music psychology to operate the process. The study of music structure not only pays attention to the local characteristics of detail modification, but also gives consideration to the macro unity of the whole situation. Based on Bach and Shostakovich's different interpretations of the same genre of prelude and fugue, two composers of different periods and different styles are taken as the model of analysis. The comprehensive operation demonstrates the practical application of the mechanism of wave-grained two-image metonymy in the study of musical structure, and from this point of view, the thesis explains the mechanism of wave-particle two-image metonymy in the study of music structure from the two angles of theoretical elaboration and experimental interpretation, respectively. That is, quantum music theory development hypothesis is explained in detail.
【学位授予单位】：江西师范大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：J601

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