米约早期室内乐作品多调性复调研究
发布时间：2019-06-20 15:23
【摘要】：二十世纪是复调音乐复兴的时期,此时涌现出了一大批以复调为重要技术手段的作曲家,他们以“回归巴赫”为口号,希望重现巴洛克时期的对位技术,如肖斯塔科维奇、斯特拉文斯基、巴托克、亨德米特、利盖蒂等,米约则是这一时期法国作曲家的代表。在米约广泛采用的各种手法中,最突出的是多调性,他是“第一个对多调性进行系统研究并始终不断地采用,从而丰富和发展了这一手法的作曲家”。室内乐创作贯穿了米约音乐生涯的三个阶段,尤其是弦乐四重奏,被视为米约“所有作品的支柱”,作为音乐创作的“实验田”,米约将他精妙的复调思维倾注到室内乐作品中。20世纪20年代,米约的室内乐创作达到了顶峰,其中的复调技法更是集中而突出。本论题将以米约早期室内乐作品为对象,从早期室内乐作品中提取米约多调性复调创作技法及复调音乐形式,进而发现米约对复调技法运用的开拓性发展,以及在复调音乐形式上的创新性发展等,以期详尽、系统地总结米约早期多调性复调技术体系。
[Abstract]:The twentieth century is a period of renaissance of polyphonic music, at which time a large number of composers with polyphonic as an important technical means have emerged. They use "return to Bach" as the slogan, hoping to recreate the counterpoint techniques of Baroque, such as Shostakovich, Stravinsky, Bartok, Hendmet, Ligatti and so on. Miyo is the representative of French composers in this period. Among the various techniques widely used by Miyor, polytonicity is the most prominent. He is "the first composer to systematically study polytonicity and adopt it all the time, thus enriching and developing this technique." Chamber music creation runs through the three stages of Miyo's music career, especially the string quartet, which is regarded as the "pillar of all works". As the "experimental field" of music creation, Miyor poured his exquisite polyphonic thinking into chamber music works. In the 1920s, Miyo's chamber music creation reached its peak, in which polyphonic techniques were even more concentrated and prominent. This thesis will take Miyao's early chamber music works as the object, extract Miyao polyphonic creation techniques and polyphonic music forms from the early chamber music works, and then find out the pioneering development of Miyao's application of polyphonic techniques and the innovative development of polyphonic music forms, in order to summarize the technical system of Miyao's early polyphonic music in detail.
【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】：J614.2
本文编号：2503330
[Abstract]:The twentieth century is a period of renaissance of polyphonic music, at which time a large number of composers with polyphonic as an important technical means have emerged. They use "return to Bach" as the slogan, hoping to recreate the counterpoint techniques of Baroque, such as Shostakovich, Stravinsky, Bartok, Hendmet, Ligatti and so on. Miyo is the representative of French composers in this period. Among the various techniques widely used by Miyor, polytonicity is the most prominent. He is "the first composer to systematically study polytonicity and adopt it all the time, thus enriching and developing this technique." Chamber music creation runs through the three stages of Miyo's music career, especially the string quartet, which is regarded as the "pillar of all works". As the "experimental field" of music creation, Miyor poured his exquisite polyphonic thinking into chamber music works. In the 1920s, Miyo's chamber music creation reached its peak, in which polyphonic techniques were even more concentrated and prominent. This thesis will take Miyao's early chamber music works as the object, extract Miyao polyphonic creation techniques and polyphonic music forms from the early chamber music works, and then find out the pioneering development of Miyao's application of polyphonic techniques and the innovative development of polyphonic music forms, in order to summarize the technical system of Miyao's early polyphonic music in detail.
【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】：J614.2
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