18-19世纪管弦乐法素描风格研究

发布时间：2018-04-18 05:01

本文选题：管弦乐法 + 风格　；参考：《上海音乐学院》2006年博士论文

【摘要】：本文在探讨管弦乐法风格定义、管弦乐法风格研究方法，并对管弦乐法发展史上主要的两个风格——素描风格和彩绘风格进行界定的基础上，对其中最早达到鼎盛时期的管弦乐法素描风格在18-19世纪的发展背景，观念、技法的演变，以及其与彩绘风格相互影响来追溯起源流，并对其管弦乐法发展史上的重要地位进行论证。笔者将18-19世纪管弦乐法素描风格作为研究对象的目的主要有以下两点：其一，由于18世纪乐队雏形刚刚形成，开发乐器本身的演奏技法、音色表现力，以及乐器组合的各种可能及表现力成为18-19世纪作曲家们的努力目标。同时，古典主义时期和声体系的成熟运用与令人满意的动力性将永不止步的作曲家们的吸引力转移到了刚刚成为一门独立作曲技法的管弦乐法，如何在管弦乐队作品中建立真正的管弦乐的音色成为他们面前的一个新难题。在整个18、19世纪，，管弦乐法的发展为20世纪多彩的、多样的器乐作品解决了最基本的问题，为这一世纪及以后的管弦乐作品创作奠定了扎实的基础。因此，对于18-19世纪管弦乐法的研究将揭示这一重要时期管弦乐法的特征以及发展线索。其二，素描风格并非象大部分人认为的是彩绘风格的雏形，两者同时萌芽于巴洛克，并一同贯穿发展于每个时期，只是由于两者不同的风格宗旨与每个时期的艺术美学相应或相悖从而替换着占据主导地位。这两个主要的管弦乐法风格不仅在历史中并存，在具体作曲家的创作中也共同存在，只是应着各作曲家的美学观点而显示出主导的一方。因此，对于18-19世纪管弦乐法“素描”风格的研究不仅有助于我们确立“素描”风格在整个管弦乐法发展史中的地位及其对于彩绘风格的影响，以及这两个主要风格在整个管弦乐法发展史中的相互作用有所了解，更有助于我们对二十世纪作曲家们所重新省视的简约音响及其理念做进一步理解与实践。笔者首先分述18-19世纪管弦乐法素描风格发展所经历的三个阶段：萌芽—
[Abstract]:On the basis of discussing the definition of the style of orchestral music, the research method of the style of orchestral method, and defining the two main styles in the history of the development of orchestral music, the sketch style and the color painting style,The background of the development of the orchestral sketch style in the 18-19 century, the evolution of the concept, the technique, and the interaction between it and the color painting style were traced back to the origination flow.The important position in the history of the development of orchestral music is also demonstrated.The author takes the 18-19 century orchestral sketch style as the object of study, mainly has the following two points:First, since the embryonic form of the 18th century band has just formed, the development of the instrument's own playing techniques, timbre performance, as well as the composition of the various possibilities and performance of the 18-19 century composers have become the goal of the efforts.At the same time, the mature use and satisfactory power of the harmony system during the classical period shifted the unceasing appeal of composers to an orchestral method that had just become an independent composition technique.How to establish real timbre in orchestra works has become a new problem for them.In the whole 18~ 19th century, the development of orchestral method solved the most basic problems for the colorful and diverse instrumental works of the 20th century, and laid a solid foundation for the creation of orchestral works in this century and beyond.Therefore, the study of the 18-19 th century orchestral method will reveal the characteristics and development clues of the Orchestra in this important period.Second, the sketch style is not, as most people think, the embryonic form of the color painting style, both sprout at the same time in Baroque, and develop through every period together,Only because the two different styles and purposes and each period of art aesthetics corresponding or contradictory to replace the dominant position.These two major orchestral styles not only coexist in history, but also exist in the creation of concrete composers.Therefore, the study of the "sketch" style of the 18-19 century orchestral method is not only helpful for us to establish the position of the "sketch" style in the whole history of the development of the orchestral method and its influence on the painting style.The understanding of the interaction of these two styles in the whole history of orchestral law is helpful for us to further understand and practice the minimalist sound and its ideas that composers reconsidered in the 20th century.The author first describes three stages of the development of the 18-19 th century orchestral sketch style: budding-
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2006
【分类号】：J614

【引证文献】