辟斯顿《第一弦乐四重奏》的“对位化和声”思维

发布时间：2018-05-19 03:16

本文选题：辟斯顿 + 第一弦乐四重奏　；参考：《乐府新声(沈阳音乐学院学报)》2016年01期

【摘要】：辟斯顿是20世纪美国重要的"新古典主义"作曲家,其作品数量和质量在同时期的美国作曲家中都首屈一指。目前在国内,辟斯顿作品的演出和理论性研究都相对匮乏,本文是笔者博士论文的一部分。全文分为课题选择的缘起;与《第一弦乐四重奏》相关的部分早期作品简介;《第一弦乐四重奏》的对位化和声思维三个部分。其中第三部分重点对"横向水平运动的旋律特征"进行了"音高水平"(pitch level)分布形态及特点、临界音(outside limits)的处理、横向旋律的"补偿运动"(compensatory motion)、横向旋律的音程特征、横向旋律所构成的"自然音综合音阶"、旋律半音体系下的多声部音程对位、多声部的"斜向"音程"映射"等方面论述了辟斯顿《第一弦乐四重奏》的"对位化和声思维"。
[Abstract]:Dingston is an important American neoclassicist composer in the 20th century, whose quantity and quality are second to none among American composers of the same period. At present, there is a relative lack of performance and theoretical research in Dushon's works. This paper is a part of the author's doctoral thesis. The full text is divided into three parts: the origin of the topic selection, the introduction of some early works related to the first string quartet, and the contrastive harmonic thinking of the first string quartet. The third part mainly deals with the "pitch level" and "pitch level" distribution, critical outside limit (s), compensatory motion of horizontal melody, and the interval characteristics of lateral melody, the third part focuses on the "pitch level" and the "pitch level" of the horizontal melody, and the treatment of the critical tone limit (s), the "compensatory motion" of the horizontal melody, and the characteristics of the interval of the horizontal melody. The "synthetic scale of natural sound" formed by the transverse melody, the multi-part interval alignment under the melodic semitone system, and the "oblique" interval "mapping of the multi-sound part are discussed in the" contrastive harmony thinking "of" the first string quartet ".
【作者单位】：中央音乐学院;沈阳音乐学院;
【分类号】：J614.2

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