谢尔西《OKANAGON》中的音高特征与“深度”体现

发布时间：2018-04-04 04:59

本文选题：贾钦多·谢尔西　切入点：OKANAGON　出处：《武汉音乐学院》2017年硕士论文

【摘要】：贾钦多·谢尔西(Giacinto Scelsi,1905-1988)是二十世纪著名的意大利作曲家。他创立了带有个人特征的“声音主义”理论,这种“声音理论”的运用,成功拓展了他对“声音”本身的探索。为了探讨谢尔西“声音理论”的运用,本文以作品《OKANAGON》为切入点,以“声音理论”中“声音形状”的“音高”与“深度”的角度进行分析,试图总结作曲家在这部作品中如何运用具体的技术手段实现或表达自己的“声音观”。以期拓展个人创作的声音思维,提升自己对创作理念与技术运用之间关系的思考能力,从而促进创作实践水平的提高。
[Abstract]:Giacinto Scelsion (1905-1988) is a famous Italian composer in the twentieth century.He founded the theory of "voicism" with personal characteristics, which has successfully expanded his exploration of "sound" itself.In order to discuss the application of Shelsey's "sound theory", this paper takes "OKANAGON" as the breakthrough point, and analyzes it from the angle of "pitch" and "depth" of "sound shape" in "sound theory".This paper attempts to summarize how composers use specific technical means to realize or express their views on sound in this work.In order to expand the sound thinking of personal creation, to enhance their ability to think about the relationship between the creative idea and the application of technology, thus to promote the improvement of creative practice level.
【学位授予单位】：武汉音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J614

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