20世纪中国交响音乐作品中的主题构造形态研究

【作者】 相西源；

【导师】 赵晓生；

【作者基本信息】 上海音乐学院 ， 作曲与作曲技术理论， 2005， 博士

【摘要】 这篇论文是关于20世纪以来中国交响音乐作品创作中的作曲技法问题的研究，主旨是对其中具有相对代表意义作品的局部——主题构造形态的诸方面，进行一种比较宽泛性的、有关作曲技术理论方面并涉及其它有关创作方面等问题的学术性探讨。论文整体的结构立论是采用“小题大做”与“大题大做”相结合的贯通方式，并通过两者之间的互补和借鉴的方法，由理论联系有关实际的曲例分析而进行独立研究而形成的。全文由导言、正文、注释、结论、赘语及附录中的参考引用的总谱文献、论文文献、书目文献征引等几个内容组成。正文是对有关文献研究的梳理与归纳；是对提出的相关论点的理论阐述及总结性的主要观点，同时也是学术性探讨的基本论证过程。其中，正文由上篇、下篇两个大部分构成，重点是下篇。 论文的第一部分(上篇)是有关“主题”词义来源的各种概念考证，由四个大的方面入手，对相关音乐创作领域和其他有关学科的主题概念作了比较细致的理论性论述。同时，通过对主题构造形态方面和相关主题词义的不同现象的解释，从比较广泛的和宏观的主题思维观念上，阐明了有关“主题”理论研究的中心问题；并通过多种国内与国外文献的理论分析和比较，从世界大文化范围的角度上，对主题理论的中心含义和主导思想给予了界定；并从几种主要的“主题”理论观点上，对“主题”问题的专题性研究及目前学术上所存在的和关注的基本问题，进行了相关的解释。同时，提出了有关主题构造方面的“综合性”方式研究的相关论点——中国音乐创作中的“主题”概念等问题。另外，从整体论文构成的结构处理上，分别对主题与音乐作品内在的几个主要方面所存在着的关系问题，通过图表的直观方式，也进行了必要的理论阐述。 第二部分(下篇)主要是对中国交响音乐作品中的主题构造与技法演化形态方面所作的探讨和论述。通过各类不同作品与不同主题构造形态的表现形式，论述了主题构造中，各种不同材料的组织形态及音高、节奏等方面的具体手法的表现运用。在此基础上进一步地研究了构造中各种作曲技法的写作方法，并涉及到多种材料组织，对主题在形态的构造方面所起到的基本核心主干作用。在结合相更多还原

【Abstract】 This thesis mainly concerns the academic study of specific music composing technique in the field of Chinese symphonic music composition from the early 1900’s to the final period of the 20th century. It focuses on the concept of theme structure, a relatively representative part of Chinese symphonic music works, carrying out a series of investigations in respect of music composing technique as well as other related issues in an extensive way. As a whole, the thesis presents its views on the basis of abundant facts and intensive research regardless of minor themes or major themes. Besides, it draws on the strong points of others to make up for its own weak points, carrying out academic research independently. As a result, the thesis is composed of introduction, text and annotations and conclusion as well as some related documents citations in the appendix. The text sums up the major viewpoints and academically essential arguments of the thesis and has two chapters in all, among which the second chapter is the key part.The first chapter of the thesis gives a vivid and precise description and discussion of the concept of theme in the field of music composition as well as related subjects. Meanwhile, it works out the crucial points of the research on "theme" in an extensive and macro way as a result. Moreover, with in-depth analysis and by comparison on the basis of various documents at home and abroad, it defines the implication and ruling ideas of "theme" from a world cultural point of view and offers related explanations of some monographic studies and some academic concerning issues from the aspects of several dominant theory of "theme". Besides, it puts forward an argument — the comprehensive research of theme structure, that is to say, the issue of concept of theme in the field of Chinese Music Composition. In addition, with the aid of illustrative charts, this chapter gives an objective and vivid description of the internal relationship between the theme and music works, and also offers necessary explanation from the relatively academic更多还原