格什温《F调钢琴协奏曲》音高组织研究
发布时间：2019-07-01 10:01
【摘要】：《F调钢琴协奏曲》是美国作曲家格什温第一首独立完成的"交响爵士"作品。作为十九世纪末二十世纪初欧洲作曲家"访美"的"逆向产物",受到了广泛关注。然而,尽管人们从人文背景,演奏技巧或节奏等方面对其进行了大量研究,对于构成作品风格极为重要的音高构成,却未能深入涉及。本文结合作者由爵士乐手逐步转变为专业作曲家的特殊创作历程,依据20世纪二、三十年代初步成型的爵士乐音高理论、以及同时期"访美"中被欧洲作曲家带入美国的传统作曲技术理论对这部作品的旋律形态,调式构成、和弦结构与和声运动模式等给予理性的分析总结,发掘作品"爵士乐"标签下蕴藏的古典音乐逻辑和严肃音乐创作技法,尝试从音高角度进一步深化人们对于格什温音乐的认知。论文分为两个部分,即引言和包含四个章节的正文部分。引言部分陈述本文的选题缘起,梳理《F调钢琴协奏曲》的创作环境与时代背景,重点讨论作品及曲作者的相关研究进展,最后提出论文设想。第一章讨论了《F调钢琴协奏曲》中的布鲁斯调式及由不同布鲁斯调式构成的横向线条。尽管作品中存在一些看似传统大小调式的音高材料,但不难发现布鲁斯调式仍是全曲唯一的调式构成。第二章列举了作品中出现的特殊和弦,并对其纵向结构进行了详细的讨论。这些特殊的纵向结构多数来源于作品所使用的各种布鲁斯调式,还有一些仅为了满足单纯的音响点缀需求。总的来说,这些和弦结构在静态上确保了作品纯正的爵士风格。第三章依据作品的和声运动模式将作品的音高材料分为呈示性段落和连接性段落两类。呈示性段落的功能性、乐句完整程度与爵士乐风格特征要明显的高于连接性段落。而每一个连接性段落又为随后被引入的呈示性段落做了目的明确的准备。借助图表可以更为清晰的呈现上述音高材料发展的一般模式。第四章对作品的调性进行了梳理,发现全曲的调性是以接近对称的方式围绕中心调F展开,即每当离开F之后总是周期性的回归。这种常见于古典、浪漫主义时期的调性布局为全曲音高材料的平衡提供了进一步的保障。因此,该作品不仅仅是一首被放大的爵士乐作品,更是能符合多方面逻辑要求的古典音乐。
[Abstract]:Piano Concerto in F tune is the first independent work by American composer Gershwin. As a "reverse product" of European composers' visit to the United States at the end of the nineteenth century and the beginning of the 20th century, it has received extensive attention. However, although people have done a lot of research on it from the aspects of humanistic background, playing skills or rhythm, it has not been deeply involved in the pitch composition, which is very important to the style of the work. Based on the author's special creative course from jazz musician to professional composer, this paper makes a rational analysis and summary of the melody form, tone composition, chord structure and harmony movement mode of this work according to the jazz pitch theory initially formed in the 1920s and 1930s and the traditional composition technology theory brought into the United States by European composers in the same period. This paper explores the classical music logic and serious music creation techniques contained in the label of Jazz, and tries to further deepen people's understanding of Gershwin's music from the perspective of pitch. The paper is divided into two parts, that is, the introduction and the main body part which contains four chapters. The introduction describes the origin of the topic, combs the creation environment and background of the piano Concerto in F tune, focuses on the related research progress of the works and the songwriters, and finally puts forward the ideas of the paper. The first chapter discusses the blues pattern and the horizontal lines composed of different blues in Piano Concerto in F tune. Although there are some seemingly traditional pitch materials in the work, it is not difficult to find that the blues pattern is still the only tone composition of the whole song. The second chapter lists the special chords in the works and discusses their longitudinal structure in detail. Most of these special longitudinal structures come from all kinds of blues patterns used in the works, and some are only to meet the needs of simple audio embellishment. In general, these chords statically ensure the pure jazz style of the work. In the third chapter, according to the harmonious motion mode of the work, the pitch materials of the work are divided into indicative paragraphs and connected paragraphs. The functionality of indicative paragraphs, the completeness of phrases and the characteristics of jazz style are significantly higher than those of connected paragraphs. And each connecting paragraph makes a clear preparation for the indicative paragraphs that are subsequently introduced. With the help of charts, the general model of the development of pitch materials can be presented more clearly. The fourth chapter combs the tonal nature of the work, and finds that the tonal nature of the whole song is spread around the central modulation F in a nearly symmetrical way, that is, it always returns periodically after leaving F. This tonal layout, which is common in classical and romantic periods, provides a further guarantee for the balance of pitch materials. Therefore, this work is not only a magnified jazz work, but also classical music that meets the requirements of various logic.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J624.1
本文编号：2508385
[Abstract]:Piano Concerto in F tune is the first independent work by American composer Gershwin. As a "reverse product" of European composers' visit to the United States at the end of the nineteenth century and the beginning of the 20th century, it has received extensive attention. However, although people have done a lot of research on it from the aspects of humanistic background, playing skills or rhythm, it has not been deeply involved in the pitch composition, which is very important to the style of the work. Based on the author's special creative course from jazz musician to professional composer, this paper makes a rational analysis and summary of the melody form, tone composition, chord structure and harmony movement mode of this work according to the jazz pitch theory initially formed in the 1920s and 1930s and the traditional composition technology theory brought into the United States by European composers in the same period. This paper explores the classical music logic and serious music creation techniques contained in the label of Jazz, and tries to further deepen people's understanding of Gershwin's music from the perspective of pitch. The paper is divided into two parts, that is, the introduction and the main body part which contains four chapters. The introduction describes the origin of the topic, combs the creation environment and background of the piano Concerto in F tune, focuses on the related research progress of the works and the songwriters, and finally puts forward the ideas of the paper. The first chapter discusses the blues pattern and the horizontal lines composed of different blues in Piano Concerto in F tune. Although there are some seemingly traditional pitch materials in the work, it is not difficult to find that the blues pattern is still the only tone composition of the whole song. The second chapter lists the special chords in the works and discusses their longitudinal structure in detail. Most of these special longitudinal structures come from all kinds of blues patterns used in the works, and some are only to meet the needs of simple audio embellishment. In general, these chords statically ensure the pure jazz style of the work. In the third chapter, according to the harmonious motion mode of the work, the pitch materials of the work are divided into indicative paragraphs and connected paragraphs. The functionality of indicative paragraphs, the completeness of phrases and the characteristics of jazz style are significantly higher than those of connected paragraphs. And each connecting paragraph makes a clear preparation for the indicative paragraphs that are subsequently introduced. With the help of charts, the general model of the development of pitch materials can be presented more clearly. The fourth chapter combs the tonal nature of the work, and finds that the tonal nature of the whole song is spread around the central modulation F in a nearly symmetrical way, that is, it always returns periodically after leaving F. This tonal layout, which is common in classical and romantic periods, provides a further guarantee for the balance of pitch materials. Therefore, this work is not only a magnified jazz work, but also classical music that meets the requirements of various logic.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J624.1
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