周文中音乐作品“音高构造法”研究
发布时间：2018-12-13 17:57
【摘要】：本文以周文中的音乐作品为研究对象,着重研究其音高构造体系,诸如：核心音程、音级集合、和弦构造、五声调式、“可变调式”、“填白”音、织体模式,等等。作为音高构造的重要元素,它们既是互相独立的,又是相互关联的整体。本文以调式因素作为主线,将其他因素串联起来,对周文中音乐作品音高构造方面进行系统研究。 第一章引论部分通过大量文献资料的分析与研究,将周文中的研究现状做了简要的评述,并在这个基础上找到了本文研究的主要方向——对周文中音乐作品进行技法研究以及技法自身的历史逻辑,而非超越技法的音乐学研究。 第二章将周文中的第一个创作时期归纳为“五声调式为主要控制力”。这个时期周文中往往直接引用中国民歌主题,或将民歌主题进行变奏式发展,或者将五声调式核心元素——大二度、小三度和纯四度音程以及五声性三音组、四音组等抽象出来,使得五声调式作为音高体系的主要组织控制力,并因此创制了许多具有五声性特征的叠置和弦,如纯四、纯五度叠置、综合叠置、横向旋律纵合化等。周文中这个阶段的作品中,如诗、如画的《花月》意境和细腻感人的《花落》音响,展现出一种带有神秘色彩的柔婉如兰的诗人气质,这正是西方人所欣赏的东方风情! 第三章重点研究周文中“可变调式”体系。该体系本质上说也是“人工调式”,与梅西安、德彪西、巴托克等自创的人工调式本质相通,但“可变调式”体系的数理逻辑来自于《易经》——中华文化的源头之一,这是其不同于其他技法人工调式的文化特征。这是一个自足的体系,自身也经历了从繁复复杂的填白体系的《飞草》,走向简明的可有可无填白音的《韵》。 第四章主要研究周文中如何从极端个性化的语言体系重新融回到具有普遍意义的音乐世界中来。这个时期首先在《山涛》中打破自足的可变调式框框,把它们与集合处理手段相衔接,再在《云》走向12音半音化,完成与20世纪下半叶普遍使用的现代技法的对接,然而可变调式的自我逻辑,仍然保留完好,甚至让这种个性在普遍接受的体系中更加完满地展现出来。进入21世纪的周文中,在《流泉》中将古往今来的创作技法融为一炉,真正做到超越技巧、丢开技巧而随心所欲地控制音乐,达到真正的“乐由心生”的境界。 第五章研究周文中的创作理念和技法对20世纪末中国大陆音乐创作的影响,通过对“太极作曲系统”、“五行作曲法”等体系的简要介绍,揭示了他们之间一脉相承的历史逻辑。 最后的结论,西为“器”,中为“道”,中西合璧。
[Abstract]:Taking Chou Wen-Chung 's musical works as the research object, this paper focuses on the pitch structure, such as the core interval, the level set, the chord structure, the pentatonic structure, the variable tone, the white filling, the texture pattern, and so on. As important elements of pitch construction, they are both independent and interrelated as a whole. This paper studies the pitch structure of Chou Wen-Chung 's musical works in series with other factors as the main line. In the first chapter, through the analysis and research of a large amount of literature, the author makes a brief comment on the current situation of Chou Wen-Chung 's research. On this basis, the author finds out the main research direction of this thesis, that is, the study of Chou Wen-Chung 's musical works and the historical logic of the techniques themselves, rather than the musicological research that transcends the techniques. In the second chapter, Chou Wen-Chung 's first creative period is summed up as "five tone mode as the main control force." In this period, Chou Wen-Chung often directly quoted the theme of Chinese folk songs, or developed the theme of folk songs in a variety way, or took the key elements of the five-tone mode-big second, small third and pure four-degree intervals, as well as pentatonic trisyllabic groups. Four tone sets are abstracted to make pentatonic tone as the main organizational control force of pitch system, and therefore many superimposed chords with pentatonic characteristics have been created, such as pure four, pure five degree overlay, comprehensive overlay, transverse melody longitudinal alignment, and so on. Chou Wen-Chung in this stage of the works, such as poetry, such as the painting of the "Flower Moon" artistic conception and delicate and touching "Flower fall" sound, showing a mysterious color of soft and orchid poet temperament, this is the western appreciation of the Oriental amorous feelings! The third chapter focuses on Chou Wen-Chung 's variable mode system. In essence, the system is also "artificial modulation", which is similar to the self-created artificial mode essence of Mayan, Debussy and Bartok, but the mathematical logic of the "variable mode" system comes from the Book of changes, one of the sources of Chinese culture. This is different from other techniques of artificial mode of cultural characteristics. This is a self-sufficient system, and has experienced from the complex and complex filling system of "fly grass" to the concise "rhyme" of the white sound. The fourth chapter mainly studies how Chou Wen-Chung reintegrates from the extremely individualized language system to the universal music world. In this period, the self-contained variable mode frame was first broken in Mountain Tao and connected with the means of collective processing, and then, in "Cloud", it moved towards a 12-tone semitone, so as to complete the docking with the modern techniques commonly used in the second half of the 20th century. Yet the self-logic of the variable mode remains intact, even making the personality more fully manifest in a universally accepted system. Chou Wen-Chung, entering the 21st century, melts the techniques of creation from ancient to present into a furnace, truly surmounts the technique, discards the skill and controls the music at will, so as to reach the true realm of "music born from the heart". The fifth chapter studies the influence of Chou Wen-Chung 's creative ideas and techniques on the music creation in mainland China at the end of the 20th century. Through a brief introduction to the system of "Taiji composing system" and "five elements composing method", etc. It reveals the historical logic of their lineage. The final conclusion is that the west is the "instrument", the middle is the "Tao", and the Chinese and the western are combined.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J614
本文编号：2376971
[Abstract]:Taking Chou Wen-Chung 's musical works as the research object, this paper focuses on the pitch structure, such as the core interval, the level set, the chord structure, the pentatonic structure, the variable tone, the white filling, the texture pattern, and so on. As important elements of pitch construction, they are both independent and interrelated as a whole. This paper studies the pitch structure of Chou Wen-Chung 's musical works in series with other factors as the main line. In the first chapter, through the analysis and research of a large amount of literature, the author makes a brief comment on the current situation of Chou Wen-Chung 's research. On this basis, the author finds out the main research direction of this thesis, that is, the study of Chou Wen-Chung 's musical works and the historical logic of the techniques themselves, rather than the musicological research that transcends the techniques. In the second chapter, Chou Wen-Chung 's first creative period is summed up as "five tone mode as the main control force." In this period, Chou Wen-Chung often directly quoted the theme of Chinese folk songs, or developed the theme of folk songs in a variety way, or took the key elements of the five-tone mode-big second, small third and pure four-degree intervals, as well as pentatonic trisyllabic groups. Four tone sets are abstracted to make pentatonic tone as the main organizational control force of pitch system, and therefore many superimposed chords with pentatonic characteristics have been created, such as pure four, pure five degree overlay, comprehensive overlay, transverse melody longitudinal alignment, and so on. Chou Wen-Chung in this stage of the works, such as poetry, such as the painting of the "Flower Moon" artistic conception and delicate and touching "Flower fall" sound, showing a mysterious color of soft and orchid poet temperament, this is the western appreciation of the Oriental amorous feelings! The third chapter focuses on Chou Wen-Chung 's variable mode system. In essence, the system is also "artificial modulation", which is similar to the self-created artificial mode essence of Mayan, Debussy and Bartok, but the mathematical logic of the "variable mode" system comes from the Book of changes, one of the sources of Chinese culture. This is different from other techniques of artificial mode of cultural characteristics. This is a self-sufficient system, and has experienced from the complex and complex filling system of "fly grass" to the concise "rhyme" of the white sound. The fourth chapter mainly studies how Chou Wen-Chung reintegrates from the extremely individualized language system to the universal music world. In this period, the self-contained variable mode frame was first broken in Mountain Tao and connected with the means of collective processing, and then, in "Cloud", it moved towards a 12-tone semitone, so as to complete the docking with the modern techniques commonly used in the second half of the 20th century. Yet the self-logic of the variable mode remains intact, even making the personality more fully manifest in a universally accepted system. Chou Wen-Chung, entering the 21st century, melts the techniques of creation from ancient to present into a furnace, truly surmounts the technique, discards the skill and controls the music at will, so as to reach the true realm of "music born from the heart". The fifth chapter studies the influence of Chou Wen-Chung 's creative ideas and techniques on the music creation in mainland China at the end of the 20th century. Through a brief introduction to the system of "Taiji composing system" and "five elements composing method", etc. It reveals the historical logic of their lineage. The final conclusion is that the west is the "instrument", the middle is the "Tao", and the Chinese and the western are combined.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J614
【参考文献】
相关期刊论文 前2条
1 陈钢;早春二月柳色新——记周文中教授与美中文化交流[J];人民音乐;1979年Z1期
2 Ｆ·Ｆ·费利希阿诺,毕明辉;周文中的早期创作[J];中央音乐学院学报;1998年03期
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