【作者】 芝汀；

【导师】 钱亦平；

【作者基本信息】 上海音乐学院 ， 音乐学， 2008， 硕士

【摘要】 论文以萨蒂的钢琴作品为研究对象,通过分析其音乐技术形态,试图概括这些作品的语言风格并归纳其结构原则。全文共四章,前两章以五个分期探讨语言风格,后两章总结结构原则,论及曲式原则与数理逻辑原则。第一章:介绍早期、“玫瑰+十字”时期、“寻觅徘徊”时期的钢琴语言风格。早期钢琴作品中孕育了印象派技法的萌芽。“玫瑰+十字”时期突出“神秘”特点。“寻觅徘徊”时期以简洁流畅的钢琴风格为主。第二章:阐述“幽默钢琴创作”时期、末期的钢琴语言风格。“幽默钢琴创作”时期是萨蒂钢琴创作生涯的顶峰阶段,诙谐的口吻、“视”与“听”相结合的形式是此时的主要创作特点。末期钢琴作品有回归简朴的倾向。第三章:总结萨蒂钢琴作品中丰富的曲式原则,有些是对传统曲式的继承或革新,有些则是萨蒂自己创造的全新的曲式。第四章:概括萨蒂钢琴作品中的三种数理逻辑原则——黄金分割、斐波那契数列、卢卡斯数列。黄金分割比例是其中最重要的一个原则,有黄金分割、逆黄金分割、正逆黄金分割,以及“黄金区间”四种表现。在此过程中,论文提出了如下新论点:1.将萨蒂钢琴创作划分为五个风格分期——早期、“玫瑰+十字”时期、“寻觅徘徊”时期、“幽默钢琴创作”时期、末期。2.为萨蒂创造的曲式结构命名——缀合曲式。3.提出了“黄金区间”现象。此外,文中涉及的很多萨蒂的钢琴作品无人进行过分析,系文作者独立分析。更多还原

【Abstract】 Satie’s piano works are the subject of research for this thesis.Through the analysis of musical techniques in these works,this paper attempts to summarize the style of its musical languages and generalize its structural principles.This thesis comprises four chapters.The former two chapters discuss the style of musical languages,and the latter two chapters summarize the structural principles which treat of both the form and the mathematical logic.Chapter One:An introduction to the style of musical languages in the forepart,the period of "Rose+Croix",and the times of "seeking and wandering".The impressionistic techniques germinated in satie’s early piano works.The trait of "mystery" standed out in the period of "Rose+Croix".In the times of "seeking and wandering",Satie’s piano style gave priority to terseness and fluency.Chapter Two:A statement about the style of musical languages in the period of "humorous piano composition"and the terminal stage.The period of "humorous piano composition"is the tiptop in the whole career of Satie’s piano music,whose primary characteristics are the jocular taste and the modality mixed "seeing" with "hearing".The terminal piano works have a tendency towards returning to simplicity.Chapter Three:A summarization about the abundant principles of forms in Satie’s piano works.Some of the principles inherit or reform the traditional forms,and others are entirely brand-new forms created by Satie himself.Chapter Four:A generalization about three principles of mathematical logic in Satie’s piano works Golden Section,Fibonacci Sequence,and Lucas Sequence.Golden Section is the most important of all,which has four manners——Golden Section,Reverse of the Golden Section,Special Golden Section,and the "Golden Area".In this process,the new issues mentioned in this thesis are as follows:1.A partition about the five periods of the style of Satie’s piano works——the forepart,the period of "Rose+Croix",the times of"seeking and wandering",the period of"humorous piano composition",and the terminal stage.2.The denomination for "linking form" created by Satie himself.3.The mention about the "Golden Area" phenomenon.In addition,the author analyses a good many Satie’s piano works in this thesis,which have been analysed by nobody.更多还原