利盖蒂《汉堡协奏曲》创作技法之音高组织
发布时间：2018-08-30 10:19
【摘要】：乔治·利盖蒂是继巴托克以后,最具有世界影响力的匈牙利作曲家,也是二十世纪乐坛上最具创造力的作曲家之一。利盖蒂通过他的作品告诉人们除了传统音乐与序列音乐以外,还有机械性音乐、静态音乐等更多的音乐形式。他在其音乐作品中使用微分音、复合节奏、微复调、自然泛音等技术手段,把非常普通的音高材料重新组合结构,并为作品带来了非常复杂的音响色彩。摆脱十二平均律的限制是20世纪作曲家的追求之一,微分音就是这方面的尝试。利盖蒂对微分音的尝试最早出现在《罗马尼亚协奏曲》,之后在《钢琴三重奏》,《小提琴协奏曲》和《汉堡协奏曲》里他把两种音律结合在了一起,以此来摆脱十二平均律的控制。本文以利盖蒂的《汉堡协奏曲》这部作品为研究对象,通过从纯律(泛音列)与十二平均律之间的基本音高入手,对全曲主要的音高关系与创作技法进行详细的分析。本文主要由以下几个部分组成:第一章简述了利盖蒂的生平和《汉堡协奏曲》的创作背景;第二章和第三章通过作品中的音高实例,从纯律(泛音列)与十二平均律为出发点,主要研究《汉堡协奏曲》独奏圆号,助奏(自然)圆号与乐队之间的音高关系。第四章主要研究《汉堡协奏曲》七个乐章之间的音高关系。
[Abstract]:George Ligetti is one of the most influential Hungarian composers since Bartok and one of the most creative composers in the 20th century. Through his works, Ligatti tells people that in addition to traditional music and serial music, there are mechanical music, static music and other forms of music. In his musical works, he uses techniques such as differential tone, compound rhythm, micro-polyphony, natural overtone and so on, to recombine the very ordinary pitch materials and bring very complicated sound color to his works. It is one of the pursuits of 20th century composers to get rid of the limitation of the law of twelve averages, and differential sound is an attempt in this respect. Ligatti's attempt on differential sounds first appeared in Romania Concerto, then in Piano Trio, Violin Concerto and Hamburg Concerto, in which he combined the two rhythms in order to get rid of the control of the Twelve mean Rhythm. In this paper, the author takes "Hamburg Concerto" by Ligatti as the research object, through starting with the basic pitch between pure rhythm (general phonetic series) and twelve average law, analyzes the main pitch relation and creative technique of the whole song in detail. This paper is mainly composed of the following parts: the first chapter gives a brief account of Ligatti's life and the background of Hamburg Concerto, and the second and third chapters start from pure law and twelve average laws through the examples of pitch in his works. This paper mainly studies the relationship between the trumpet and the band. The fourth chapter mainly studies the relationship between the seven movements of Hamburg Concerto.
【学位授予单位】：西安音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J614
本文编号：2212777
[Abstract]:George Ligetti is one of the most influential Hungarian composers since Bartok and one of the most creative composers in the 20th century. Through his works, Ligatti tells people that in addition to traditional music and serial music, there are mechanical music, static music and other forms of music. In his musical works, he uses techniques such as differential tone, compound rhythm, micro-polyphony, natural overtone and so on, to recombine the very ordinary pitch materials and bring very complicated sound color to his works. It is one of the pursuits of 20th century composers to get rid of the limitation of the law of twelve averages, and differential sound is an attempt in this respect. Ligatti's attempt on differential sounds first appeared in Romania Concerto, then in Piano Trio, Violin Concerto and Hamburg Concerto, in which he combined the two rhythms in order to get rid of the control of the Twelve mean Rhythm. In this paper, the author takes "Hamburg Concerto" by Ligatti as the research object, through starting with the basic pitch between pure rhythm (general phonetic series) and twelve average law, analyzes the main pitch relation and creative technique of the whole song in detail. This paper is mainly composed of the following parts: the first chapter gives a brief account of Ligatti's life and the background of Hamburg Concerto, and the second and third chapters start from pure law and twelve average laws through the examples of pitch in his works. This paper mainly studies the relationship between the trumpet and the band. The fourth chapter mainly studies the relationship between the seven movements of Hamburg Concerto.
【学位授予单位】：西安音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J614
【参考文献】
相关期刊论文 前4条
1 冶鸿德;;双重律制中的音高关系与结构逻辑——利盖蒂最后作品《汉堡协奏曲》的技法分析[J];交响(西安音乐学院学报);2014年03期
2 王自东;;利盖蒂《音乐探索》及“十二音全集”音高构造法研究(上)[J];音乐研究;2011年03期
3 徐越湘;;论利盖蒂作品中的“静态运动”因素的存在价值——以《第二弦乐四重奏》为例[J];乐府新声(沈阳音乐学院学报);2009年01期
4 陈鸿铎;;利盖蒂第一册六首钢琴练习曲创作研究(上)[J];音乐研究;2007年01期
，本文编号：2212777
本文链接：https://www.wllwen.com/wenyilunwen/yinlelunwen/2212777.html
