微变奏—简约主义作曲技术之纲

发布时间：2018-06-07 06:32

本文选题：微变奏 + 恒定因素　；参考：《上海音乐学院》2008年博士论文

【摘要】： 本论文的核心论点为微变奏。微变奏是通过本人对简约主义音乐作曲技法的研究、归纳而提出的一个关于作曲技法的新概念。论文试图通过对于微变奏概念与简约主义音乐美学思想之关系的探讨及对于微变奏技法在简约主义音乐作品中的实际运用等证明了微变奏概念提出的合理性。除序言和后记外,论文由四个部分组成:一,简约主义音乐。二,微变奏。三,微变奏在简约主义音乐中的运用。四,结论。在第一部分“简约主义音乐”中,就如何看待简约主义音乐提出了“简约主义音乐不仅仅因为在美学上是二十世纪上半叶诸多高度抽象、晦涩复杂音乐(如数字化的十二音序列、整体序列及其它无调性音乐等)的反动而产生,同时,其在作曲技术方面也已逐步形成了以其美学思想为基础,源于西方传统作曲技术并融入东方音乐元素的,作为一个流派必须具有的共同特征的风格和手段”的个人观点,并就简约主义美学思想和创作观念形成的背景及始源进行了探讨。第二部分“微变奏”包括了微变奏与传统变奏之异同,微变奏与简约主义美学思想之关联,微变奏之定义及微变奏之类型等内容。第三部分“微变奏在简约主义音乐中的运用”是本论文的核心部分,该部分以微变奏的七个类型为线索,对简约主义代表性作曲家作品中微变奏技法运用的实例进行了分析论证,实际例证涉及独奏(《钢琴相位》),重奏(《弦乐四重奏》),室内乐(《城市生活》)及管弦乐(《乐队和声学》)等体裁,也包括预制音乐(磁带,《纽约对位》),合成器(《剑鱼座》)及响棒(古巴民间乐器,《为木制乐器而作的音乐》)等形式。第四部分为“结论”,是对前面三个部分的论证的总结。事实证明,简约主义作曲家作品中确实存在大量文中所列七个类型的微变奏技法,这些实例不仅能够证明微变奏概念的成立,同时也能够证明微变奏作为简约主义作曲技术之“纲”的含义。该部分同时就微变奏概念对于教学与创作等的现实意义进行了相关论述。
[Abstract]:The core point of this thesis is microvariation. Microvariation is a new concept about composition technique, which is put forward by my research on minimalist music composition technique. This paper attempts to prove the rationality of the concept of microvariation through the discussion of the relationship between the concept of microvariation and the aesthetic thought of minimalist music, as well as the practical application of microvariation techniques in minimalist musical works. Besides preface and postscript, the thesis consists of four parts: first, minimalist music. Second, microvariation. Third, the use of microvariation in minimalist music. IV. Conclusions In the first part of "minimalist Music", it is proposed that "minimalist music is not only aesthetically highly abstract in the first half of the twentieth century." Obscure and complex music (such as digital 12-tone sequence, whole sequence and other non-tonality music) is reactionary, and its composing technology has gradually formed its aesthetic thought. A personal view that originates from the traditional Western composition techniques and incorporates the elements of oriental music, as a style and means that must be shared by a school of thought, The background and origin of the formation of minimalist aesthetic thoughts and creative ideas are also discussed. The second part includes the similarities and differences between microvariation and traditional variation, the relationship between microvariation and minimalist aesthetic thought, the definition and type of microvariation. The third part, "the use of microvariation in minimalist music", is the core part of this paper, which takes the seven types of microvariation as the clue. This paper analyzes and demonstrates the application of microvariation techniques in the works of representative minimalist composers. Examples include solo (piano phase), ensemble (string quartet), chamber music (city life) and orchestral music (band and acoustics). It also includes prefabricated music (tapes, New York pairs), synthesizers (Swordfish) and sound sticks (Cuban folk instruments, < music for wooden instruments) and so on. The fourth part is the conclusion, which is the summary of the former three parts. It has been proved that there are seven types of microvariation techniques in the works of minimalist composers. These examples can not only prove the establishment of the concept of microvariation. At the same time, it can also prove the meaning of microvariation as the outline of minimalist composition technology. At the same time, this part discusses the practical significance of the concept of microvariation for teaching and creation.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2008
【分类号】：J614.5

【引证文献】