赋格写作中十二音序列技法的研究

【作者】 孙晓烨；

【导师】 邹建平；

【作者基本信息】 南京艺术学院 ， 近现代作曲技法理论， 2011， 博士

【摘要】 赋格是成型于巴洛克时期的传统体裁,十二音序列是20世纪初由奥地利作曲家阿诺德·勋伯格(1874-1951年)首创的现代派作曲技法,从调性观念上相背离的二者,如何在碰撞与交融后产生出新的火花是本文的研究目的。当今,现代派作曲家纷纷致力于在创作上思考如何突破传统,因此,用十二音序列写作的赋格作品应运而生。这些依旧采用传统体裁创作的作曲家来自不同的国家与民族,他们都选择使用十二音序列作为主要音高材料来进行创作,并相应写出了一部分相关的音乐作品。然而,对于赋格写作中十二音序列技法的研究,在目前作曲技法理论研究中还没有得到足够重视。但是在实际创作中,已经有部分序列音乐作曲家正在为十二音序列与赋格体裁相结合做出大量的尝试,从这一点可以证明该类型的音乐作品值得关注。全文由绪论、五个章节和结语组成。首先,在绪论中对本课题的国内外研究现状、选题的依据和价值以及所做课题的创新性、研究的必要性及现实意义、写作思路及若干补充四方面做出了详细的说明和分析;其次,正文五个章节的第一章是十二音序列与赋格的历史脉络梳理,第二章是十二音序列在赋格写作中是否存在调性问题的阐述,第三章剖析了用十二音序列写作赋格时存在的各种构成要素,第四章着重研究在赋格写作中,使用十二音序列时可能产生的各种对位技术,在第五章中抽取不太常见的五个作品作个案研究和理论讲解;最后,结语部分从该类型作品的内在逻辑性、赋格思维的抽象化体现与对十二音技法的几点思考三方面提出笔者自己的个人观点和看法。更多还原

【Abstract】 The dissertation tempts to combine two elements contradictory in tonality sense: the traditional genre of fugue developed around Baroque times, and the modernistic composing technique of 12-note series created by Austrian composer Arnold Schoenberg (1874-1951).Nowadays, modernistic composers make efforts to transcend traditions, accordingly, more fugue compositions in 12-note series have emerged. All these composers of different countries and nationalities choose 12-note series as the main pitch material in composing traditional musical works. Theoretical research of composing techniques has not paid enough attention to 12-note series technique in fugue composition. However, some composers who adopt series tonality have been tempting to combine 12-note series and fugue, which approves to its scholastic value.The dissertation consists of an epilogue, five chapters in the body part and an ending conclusion. The epilogue includes for parts detailing in a literature review of the dissertation topic in China and abroad; grounding base, significance and innovation of the topic; necessity and practical importance of the topic; and writing plan and complementary measures of the dissertation research. The first chapter of the body part is a historical review of 12-note series and fugue; the second chapter deliberates on the issue of tonality in fugue composition; the third chapter analyzes different constitutive elements involved in 12-note series fugue composing; the forth part mainly explains the counterpointing techniques in 12-note series fugue composing; the fifth parts selects five atypical fugue works as study cases for theoretical demonstration. In the conclusion part, the author will explain the inner logic and abstractive expression of fugue thinking, as well as some personal understanding of 12-note series techniques.更多还原