【作者】 陈文安；

【导师】 张碚；

【作者基本信息】 西南大学 ， 音乐学， 2011， 硕士

【摘要】 法国二十世纪继德彪西之后最伟大的作曲家之一,“六人团”的核心成员达律斯·米约在近六十年的创作生涯中,为世人留下了443部作品。在他漫长的一生中,对他的生活与创作产生重要影响的应该是法国、巴西和美国这三个地方,而且米约是先后主要在法国—巴西—法国—美国—法国以循环的形式度过他的一生的,所以将其称为“循环性”的人生历程。对于米约的音乐作品也可谓良莠不齐,但是他的作品总会在不同的程度上体现出“传统性”、“现代性”和“异域性”的结合,更多的是以其中一种因素为主,同时又伴有另一种或两种因素的一种“兼容性”的音乐风格。在米约众多的音乐作品中,双钢琴组曲《丑角》称得上是双钢琴这种体裁的典范之作。这首组曲的三个乐章总共运用了八个音调清晰、节奏分明的主题旋律,有的主题旋律还是以单声部的织体形式来呈示的,主题以单声部的形式来呈示不仅强化了主题的旋律性,而且也表明旋律是作品中重要的表现手段之一。另外,就总体而言,组曲《丑角》的宏观结构是清晰、明确的,功能性的和声进行也随处可见。但是,这并不能说米约在创作这首作品时使用的手法过于保守,因为在作品中也大量使用了二度、四度和五度这些二十世纪的多样化的和弦结构手法和连续的四六和弦、连续的七和弦的和声进行以及复合和弦等前卫而又丰富的和声手法。作为套曲,《丑角》在调性布局上也表现出一定的自由性,三个乐章的主调分别是C大调、bB大调和F大调,与传统的大多数套曲不同,组曲的末乐章没有再现第一乐章的主调而是以开放的形式结束在下属大调。从对曲式结构的细部处理也能看出米约在作曲手法上的创意,与传统的手法不同,米约在处理各乐章的复三部曲式时,在复三的第一部分与三声中部之间都使用了连接,这样则削弱了两者间的对比,而不是使两者处于并置对比的状态,象这样使创作趋于自由化的手法在作品中还有很多。组曲的第三乐章是一首巴西风格的桑巴舞。实际上,在组曲《丑角》中,米约音乐风格的“传统性”、“现代性”和“异域性”三因素也表现得非常鲜明,也可以说组曲《丑角》的音乐风格是这三种因素的“兼容”。更多还原

【Abstract】 Darius Milhaud was one of the greatest composers in France after Debussy in the twentieth century and was the core member of the " Six,Les".He composered 443 works in his nearly sixty years of career composition. In his long life, three places impacted his living ang his composition which was France,Brazil and United States. Because he was through the three places in the form of France-Brazil-France United States-France, so it is called "circular" of the life course. Darius Milhaud’s works can be said to be good and bad, but they always reflect the combination of "traditional"、"moderlity" and "exotic". The music style is the "compatibility". If one factor is main, the another one or two factors are associated with it.The piano duet suite <scaramouch> is a model for this form in his many of music works. There are eight themes in the three movements of this suite, which are clear in the tone and in the rhythm. Some of them are presented in a single voice, that not only strenghens the melodic of the themes, but also is an evidence that the melody is important in the misic performance. In addition, on the whole, the macro structure of the Suite <scaramouch> is clear and the functional harmonic progression can be seen everywhere. However, this does not say that this technique is too conservative in this work, because some twentieth century techniques such as the second chord、the fourth chord and the fifth chord are also widedly used in the work. As a divertimento, the tonality layout of the suite also shows a certain freedom, because the main tonality of the first movement does not reproduce in the finale movement. Darius Milhaud’s compositional techniques are creative from the detail of the musical structure processing, which are different from the traditionad approach because there are connection between the first movement and the second movement that weakened the contrast between the two parts. The same processings are more in this work. The third movement of this Suite is a Brazilian-style Samba.In fact, the musical style of the suite is compatibility of the three factors which are the "traditional"、"modernity"and"exotic"更多还原