钟启荣《变形六—风的祷告者》创作技法与风格之探究

发布时间：2018-01-23 07:20

本文关键词： 钟启荣《变形六-风的祷告者》多元化融合窗口音的偏移中国传统文化音响布局　出处：《上海音乐学院》2017年硕士论文　论文类型：学位论文

【摘要】：钟启荣(ChongKeeYong,1971-)是马来西亚当代最重要的作曲家之一。他的音乐创作极富个性与灵性,并在其音乐作品中始终贯穿着一种连绵不断的神秘气韵。由于马来西亚是一个多元化的国家,所以钟启荣接触到多种不同的文化、宗教及语言背景,而这种多元化根植于他的创作之中。不难看出,华人在不同文化背景下可以产生不同的音乐作品。这种文化差异性正是当代音乐文化多元的原因之一。从音乐比较学上来说,钟启荣的音乐为我们提供了一个特殊的范例。本文以他的作品《变形六-风的祷告者》作为研究对象,从其创作技法、创作核心理念以及风格的形成进行了较为系统的阐释和论述。全文由绪论与五个章节组成。绪论为三节,分别概述了本论题的缘起和目前国内外研究现状、钟启荣的简介和音乐创作、作品《变形六-风的祷告者》的创作背景和创作技法等。第一章以"流动的时间"为标题,从作品中所出现的特色节奏形态和结构特征来分析作品中体现的"流动的时间"。包括:基本节奏形态、亚洲化节奏形态、"心跳"节奏的形态、"窗口"(过渡句的写法)的衔接形态、作品的结构形态。第二章以"宽阔的空间"为标题,从作品中音高偏移的延伸化使用、相同素材的异置空间、乐器的空间安排这几个方面来分析作品如何展现给我们一种多维度上的宽阔的空间感。第三章以"丰富的色彩"为标题,主要侧重于作曲家对音色音响布局的特色处理方式,大致可以归类为以下几种类型:多重层次混响的实现、延绵不断音响流的离聚、非常规演奏技法下的音色模仿。第四章则以"多元的风格"为主要论点,从多元化背景交汇对于钟启荣的影响及其音乐语言的形成来分析作曲家在音乐创作中所体现出的"多元化风格"。第五章为"结语",概括总结了本论文的主要论述内容、观点,进一步解读了钟启荣作品《变形六-风的祷告者》的风格、形态及艺术价值,指出本论题在中国现当代音乐创作研究领域的借鉴意义。
[Abstract]:Zhong Qirong is one of the most important contemporary composers in Malaysia. His music creation is extremely personal and spiritual. And throughout his music works there is a constant mystery. As Malaysia is a diverse country, Chung has come into contact with a variety of cultural, religious and linguistic backgrounds. And this diversity is rooted in his creation. It is not difficult to see. Chinese people in different cultural backgrounds can produce different music works. This cultural difference is one of the reasons for the diversity of contemporary music culture. Zhong Qirong's music provides us with a special example. This paper takes his work "the Prayer of the Transfiguration of six winds" as the object of study, from his creative techniques. The paper is composed of introduction and five chapters. The introduction is three sections, and summarizes the origin of this topic and the current research situation at home and abroad. Zhong Qirong's introduction and music creation, the background and techniques of the creation of the Transfiguration six Wind Prayer, etc. The first chapter is entitled "flowing time". This paper analyzes the "flowing time" embodied in the works from the characteristic rhythmic form and structural features of the works, including: the basic rhythm form, the Asiatic rhythm form, the "heartbeat" rhythm form. The second chapter is entitled "the broad space" as the title, from the extension of the pitch deviation in the work to use, the same material space. The space arrangement of musical instruments is to analyze how the works show a broad sense of space in many dimensions. Chapter three is entitled "rich colors". The main focus on the composer of the sound layout of the characteristics of the treatment, can be classified into the following types: the realization of multi-level reverberation, continuous sound flow segregation. Unconventional performance techniques under the timbre imitation. Chapter 4th is based on the "multi-style" as the main argument. This paper analyzes the "pluralistic style" embodied by the composer in his music creation from the perspective of his influence on Zhong Qirong and the formation of his musical language. Chapter 5th is the "conclusion". This paper summarizes the main content of this paper, points of view, and further interprets the style, form and artistic value of Zhong Qirong's work "the Transfiguration Six-Wind Prayer". This paper points out the significance of this thesis in the field of contemporary music creation in China.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J614

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