【作者】 张莹；

【导师】 赵晓生；

【作者基本信息】 上海音乐学院 ， 作曲与作曲理论， 2014， 博士

【摘要】 德国著名的当代作曲家赫尔缪特·弗里德里希·拉亨曼(1935-),他继承了德奥的传统,其创新的风格推动着音乐的发展,使他成为二十世纪后半叶的欧洲当代音乐乐坛的最具代表性的先锋派作曲家之一。本文从拉亨曼作品中的音响组织和结构形态的角度上出发,对他提出的新的观念和理论概念进行梳理,并列举其不同阶段具有代表性的作品予以解析。在绪论中,笔者阐述了二十世纪的哲学思潮对其创作观念的影响以及研究目标和研究意义。第一章,笔者对其60年代提出的基础理论《新音乐音响类型》进行解析并对其作品中的特殊音响演奏技法进行分类；第二章,文中首先对这一阶段的核心观念“器乐具体音乐”的概念进行定义,之后选取大提琴独奏《压力》和乐队与打击乐组而作的《气》为例,重点分析这两部作品中“器乐具体音乐”观念下的音响组织特征；第三章,笔者重点阐述拉亨曼创作的另一个阶段的核心理念“审美装置”的定义并通过对三部乐队作品：《近旁》、《德国舞蹈组曲》中《西西里亚诺》片断和《运动-(在凝滞之后)》中不同的引用方式的解析并进一步的总结其在这一阶段对听觉感知纳入作品结构力中的音响组织特征；第四章,文中主要阐述拉亨曼对有关结构这个问题所提出的新的观念与理论,并同时对听觉——作曲家与听众和社会之间的鸿沟展开论述。拉亨曼的作品中体现出独特的音响组织与结构形态的特征,60年代他关注对新音响的开发并改变音响的分类与组织方式,基于声音的物理属性之上,使音响作为一个整体状态和过程的存在,并把五种不同形态的音响做为音响结构的组织材料进行“排序的复调”形成一种新的、自我的、独一无二的“声音”音响的内在联系,创造出一个从未有过的音响体验空间。70年代之后,拉亨曼的兴趣集中在他的“审美装置”上,他把“听觉”感知纳入音响组织的结构力中,从陈旧与过时的做法中寻求创造一种新的听觉体验,使“听觉”在作品的结构“旅程”中经历一个熟悉、期待与陌生、习惯的过程并产生“表达的”意义。他把矛盾、对抗毫无掩饰的通过音响的运用展现给我们,并把不同特征的音响块面在预先设定好的节奏网络中通过组合和变化纵横交错在一起,似乎在隐射社会的状况。拉亨曼对音响结构观念以及作曲家与社会的关系、作曲家的职责等等阐述给引起我们对当今的创作现状的一些反思。他对未知自然世界的探究与思考,对德国传统音乐文化的继承与突破,对音乐的社会功能性的反思,使得他的作品具有很高的审美价值,也给我们的创作带来了很大的启发。更多还原

【Abstract】 Helmut Friedrich Lachenmann (1935-), a prominent German composer of modern period, who based on the tradition composition of the German&Austria to promote the music progressive with his creative style, all above make him to be one of most representative avant-grade composer of the second half20th century.The dissertation began with the analysis of acoustics organization and structural form of Lachenmann’s works, and to summarize his new concept and theory of which demonstrate with some magnum opus of his different period. In the Preface, the author try to explain the influence which from the philosophy in the20th century on his compositional ideal, and also include the dissertation’s aim and significance of the research of Lachemman’s works. Chapter I, the author first explain Lachemman’s Klangtypen der Neuen Musik, a fundamental theory which the composer advocated in the1960’s, and then to catalogue the instrumental method of the new special acoustic effect. Chapter II, the author not only defined the core concept of the same period, i.e."Musique Concrete Instrumental", but also to demonstrate the concept upon the analysis the feature of the acoustics with, two works of this kind, the pression for solo cello and air for orchestra and percussion. Chapter III focused on Aesthetic apparatus, a core idea of another period, upon the explanation of the definition, the author find out how the composer use the idea in distinct way in his three orchestra works:Accanto, Siciliano of Tanzsuite mit Deutschlandlied and Mouvement (-vor der Erstarrung). All above these, the author conclude the acoustics organization feature which is formed by the aural sensitivity used as a kind of congregation element. Chapter IV upon the explanations of all the new idea and theory about the congregation, the author discussed detailedly on the aural sensitivity that the gap between composers and auditors.The feature of acoustics organization and structural form in the Lachemann’s work exhibited different in each period. In1960’s, his attention is on to discover the new sounds so as to alter the species and combination of these sounds. At this period, all the research of this is based on the physical attribution of the sound, with the result he made the sound to be existed as not only to be treated as a unity but also progressive development. His contribution is to create a totally new sound experiment which upon his unique "ordered polyphony", that is formed by a sound structure which is combined with five sound of different gesture. In1970’s, his interesting turned to the aesthetic apparatus, the aural sensitive is used in the sound organization, so as to establish a new aural effect from the old and conventional method. As in the progression, the aural to exhibit to be familiar, expected, strange and accustomed, at last it formed it own meaning. All the conflicts and contradictions are demonstrated with the sound directly, beyond this, the sound blocks bend with the rhythmic elements which is prepared to combine with the sound in order to be metaphor of the social environment.Lachenmann’s view on the acoustics organization, the duty of composer and the relationship between composer and social is irradiative for us. His research and contemplation about the natural unknown, the inheriting and breakthrough of the German tradition music, and meditation about the social function of music make his composition have a profound aesthetic value, with doubt that it will be illumine our compositon in the future.更多还原