武满彻晚期乐队作品的音响研究

【作者】 檀革胜；

【导师】 杜晓十；

【作者基本信息】 首都师范大学 ， 音乐学， 2009， 博士

【摘要】 武满彻(1930-1996)是日本现当代最具代表性的作曲家,在国际乐坛享有极高的知名度并具有广泛的影响力。在他创作的三百多部音乐作品中,晚期乐队作品占有重要地位,它们深刻体现出武满彻执著于追求艺术的超越性与永恒性,表达他对自然、宇宙和生命的感悟与沉思,彰显其对当下文化问题的独到之思。本文共分为五章,外加前言和尾声。前言主要阐明论文的缘起和意义,对武满彻以及其晚期作品进行了总体概述,并简明阐述了本文的研究方法。第一章论述了晚期乐队作品中的和声。和声是其音响的本质性因素。该章包括四小节:和声的纵向维度、和声的横向维度、和声的分层结构以及调性。第二章论述了晚期乐队作品中的织体,也包括四小节:织体的多变性、织体的统一性、织体的具体表现形态以及织体间的横向运动。这一章与第三章息息相关,可以说是第三章的引入部分。第三章论述晚期乐队作品中的音色,这一章是全文的重点,分为八个方面来论述:管弦乐的编制、音色叠加技术、音响的“底色”、音色的“蒙太奇”技术——音色切换技术、多彩的出音法对音色渲染作用、高潮或高点的音色处理技术、音色节奏以及音色整体布局研究以及音色结构力。论文的第四章主要论述晚期乐队作品中的结构、节奏节拍和力度速度。最后一章论述了晚期乐队作品的美学思维,这是全文的升华部分,着重论述武满彻美学思维的具体表现形态、美学思维的源泉以及乐队作品中的意境之美。论文尾声部分论述了研究武满彻晚期乐队作品对我们当下创作的现实意义,并提出我们当下的创作需要回归本土立场、回归生命意识的观点。更多还原

【Abstract】 Toru Takemitsu (1930-1996) is a representative contemporary Japanese composer who is well-known and influential in the music world. Among his over 300 music works, especially the orchestra pieces in the later period, transcendence and eternity of arts are the main themes, expressing his understanding and meditations of the nature, world and life, with his unique thought over the current culture issues.The article is composed of five chapters, in addition to the foreword and epilogue. The foreword outlines the foundation and value of the article, and briefly introduces Toru Takemitsu and his later period’s works. I also simply state the research approaches in this part.In Chapter one, I present his harmonic thought of his orchestra works in his later period, which is the essence of his acoustics thought. There are four sections altogether: the symphonic lognitudinal dimension, the symphonic transverse dimension, the layer structure and melody thought of the harmonics. In Chapter two, I study the texture thought of his later period orchestra works, including the levity of the texture, the consolidation of texture, the form of the texture and the transverse movement among the texture. This chapter is closely connected with and leads readers to chapter three. The focus of chapter three is the timbre thought of his later period orchestra works, which is the main body of the topic. It consists of eight sections: the composition of orchestra, the technique of the timbre reiterative, the grounding of the acoustics, the montage technique of the timbre, the transference of the timbre, the application of multiple aspirate methods to the timbre, the timbre management technique of peak, timbre rhythm and its whole distribution, and the timbre structure. Chapter four focuses on the structure, the rhythm and speed in his later period orchestra. As for Chapter five, readers can learn the aesthetics of orchestra’s acoustics thought in his later period, which is the exaltation of the dissertation. In this chapter I research the forms and sources of his aesthetics, and the artistic beauty in the orchestra.The epilogue is on the research’s realistic significance for our music composition at present, with a result that our creation should regress to the native and the life consciousness.更多还原