武满彻的“梦与数”──管弦乐《鸟群降落在星形的庭园》解析

发布时间：2018-05-15 11:16

  本文选题：武满彻(Toru + Takemitsu　； 参考：《音乐探索》2008年01期

【摘要】：武满彻的作品可以分为50年代开始到70年代末的第一个阶段和80年代以后的第二个阶段。第一阶段到第二阶段的变化从表面上看是从前卫向保守转变。第一阶段作品采用了西方同时代的前卫手法。80年代以后的第二阶段作品里的图形乐谱,不确定性因素消失,更趋向于采用五线谱记谱、常规的乐队编制及西洋乐器。与第一阶段常用的小二度、大七度、小九度等无调性音高相比,80年代以后的作品中全音阶旋律、和声音响等成为主导因素,这与西方80年代调性回归的作曲倾向相呼应,即是回归"古典性"。武满彻70年代后期管弦乐《鸟群降落在星形的庭园》是一部向第二阶段新样式转变的关键性作品,从这部作品中可以感受到武满彻音乐的"梦与数"。
[Abstract]:Wu's works can be divided into the first stage from the 1950s to the late 1970s and the second stage after the 1980s. The change from the first stage to the second stage is ostensibly a shift from avantgarde to conservative. The first stage of the works adopted the avant-garde technique of the Western era. The second stage of the 1980s, the figure music score, the uncertainty disappeared, more tend to use the staff score, conventional band compilation and Western musical instruments. Compared with the non-tonal pitch commonly used in the first stage, seven degrees, nine degrees and so on, the whole scale melody, harmony sound and so on in the works after the 1980s have become the dominant factors, which echoes the tendency of the western countries to compose tonality regression in the 1980s. It is a return to classicality. The Orchestra landed in the Star Garden in the late 1970s is a key work to the second stage of the new style. From this work, we can feel the "Dream and number" of Wu Manchu's music.
【作者单位】： 四川音乐学院作曲系
【分类号】：J605
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本文编号：1892222