布克斯特胡德管风琴赋格套曲研究

发布时间：2018-04-03 21:18

本文选题：布克斯特胡德　切入点：管风琴赋格套曲　出处：《中央音乐学院》2016年硕士论文

【摘要】：布克斯特胡德(Dietrich Buxtehude,1637-1707)是德国、丹麦著名的音乐家,并以作曲家、管风琴家的身份而知名,是J.S.巴赫之前最重要的作曲家之一。他创作了许多经典的宗教神剧和重奏、室内乐作品,而最为重要的是管风琴和其他键盘类作品的创作。布克斯特胡德是17世纪末成就最高的管风琴作曲家,是欧洲巴洛克时期,在海因里希·许茨和巴赫之间最伟大的键盘艺术家。布克斯特胡德的管风琴作品几乎囊括了当时可见的所有体裁形式,代表了同时期最高水准的创作成果,至今仍经常在教堂和音乐会上演奏。这些作品很大部分明确标明需要使用踏板,典型的北德管风琴有三排手键和一个独立的踏板,尤其适于演奏复调类型的作品。19世纪中叶,随着人们对巴洛克艺术的兴趣不断升温,布克斯特胡德被“重新发现”,他的作品受到了演奏家与听众们的青睐,被频繁、大量的搬上舞台,但作为一位应给予高度重视的巴洛克音乐家,对于其本人及其作品的研究几乎可以用“匮乏”这个词来描述。布克斯特胡德的19首“管风琴赋格套曲”被认为是其对17世纪键盘音乐最重要的贡献,作品中所运用的作曲技法及体裁上的探索,体现了巴洛克时期复调技术的高度发展。本文对其现存全部此类作品进行了细致的技术分析,梳理了“前奏曲与赋格”这一重要体裁在布克斯特胡德作品中的创作特征。在体裁和技术方面,这些赋格套曲承继了前人,以“托卡塔”为代表的“主、复调交替”类作品中的精华,在简单“模仿”的基础上建立“主题、答题、对题”的基本调性规律及对位规则,进行了“间插段”、“紧接段”、“连接段”写作的早期尝试,不论是在曲式结构、和声技术还是复调技术领域,都初步确立了“赋格原则”,在风格语汇上与早期经文歌具有渊源关系,在调式和声等方面有了很大的变化和发展,为后世以《巴赫平均律前奏曲与赋格》为代表的这种复调体裁做出了积极的探索与实践,具有重要的历史意义。
[Abstract]:Buxtehudean (1637-1707) is a famous German and Danish musician and is known as a composer and organ maker, J. S.One of the most important composers before Bach.He created many classic religious operas and recitals, chamber music, and most importantly organ and other keyboard works.Boxstroud was the most accomplished organ composer at the end of the 17 th century and the greatest keyboard artist between Heinrich Schutz and Bach during the Baroque period in Europe.Buxehud's organ works, which include almost all the styles that were visible at the time, represent the highest standards of creation of the same period and are still performed in churches and concerts.A large part of these works clearly indicate the need to use pedals, and the typical North German organ has three rows of handkeys and a separate pedal, particularly suitable for playing polyphonic works in the mid-19th century.With the growing interest in baroque art, Buxter Hood was "rediscovered," and his work was favored by players and listeners, frequently and in large numbers.But as a Baroque musician who deserves great attention, the study of himself and his works can almost be described by the word "scarcity".Buxter Hood's 19 "Organ Fugue Suite" is regarded as his most important contribution to the keyboard music in the 17th century. The exploration of composition techniques and genre used in his works reflects the high development of polyphony techniques in the Baroque period.This paper makes a detailed technical analysis of all his existing works, combing the characteristics of the important genre of prelude and fugue in the works of Buxter Hood.In terms of genre and technology, these fugue genres are inherited from their predecessors. The essence of "master, polyphonic alternation", represented by "Tokata", is established on the basis of simple "imitation".The basic tonality and alignment rules of the title "interlaced paragraph", "immediate paragraph" and "connecting paragraph" are the early attempts of writing, whether in the field of musical structure, harmony technology or polyphonic technology.Both have preliminarily established the "Fugue principle", which has a relationship with the early scripture songs in terms of style and vocabulary, and has greatly changed and developed in the aspects of tone harmony and so on.It is of great historical significance for the exploration and practice of this polyphonic genre represented by Bach's Prelude of the mean Law and Fugue.
【学位授予单位】：中央音乐学院
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J624.2

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