【作者】 周伶；

【导师】 钱亦平；

【作者基本信息】 上海音乐学院 ， 音乐学， 2009， 硕士

【摘要】 20世纪的音乐呈现多样化的趋势,音乐技法创新,音乐流派纷呈。肖斯塔科维奇作为苏联20世纪杰出的作曲家,有着自己独特的音乐创作风格,他不仅在苏联而且在全世界的作曲家中都占有一席之地。交响曲这一大型的音乐体裁,是肖斯塔科维奇音乐创作中所使用的最为重要的体裁之一,它在肖斯塔科维奇的创作中承担了许多的社会功能、文化内涵及象征意义。而交响曲中的谐谑曲所呈现出来的谐谑性风格又是贯穿肖斯塔科维奇一生的重要的创作风格之一。因此,笔者结合这两大创作领域中的创作特色,来剖析肖斯塔科维奇交响曲中谐谑曲的创作特色及谐谑曲所反映出来的谐谑性风格的特色。本论文共分为四章。第一章是对不同时期交响曲中谐谑曲的发展概况进行了疏理,共分为三个时期,涉及到德奥、北欧、东欧、美国等地区重要交响曲作曲家的作品,使交响曲中谐谑曲的形成及发展过程清晰的呈现出来。第二章,是通过谐谑曲中显象性的技法分析来展示其内涵性的风格特征。本章共分为九节,对影响肖斯塔科维奇谐谑性风格形成的各种创作手段进行了详尽的分析,并对这些手段反映出的谐谑性特点做了必要的评述。其中主要包括传统形式中新的音乐语汇的注入,以及某些现代派技法的研究;还包括作品的一些特定的思想内涵及与其它作品的比较。第三章共分为两节,首先对肖斯塔科维奇交响曲中的11个谐谑曲乐章所体现的谐谑性风格进行了分类,并对这些作品中所体现出来的其它音乐风格进行了分析;其次,把肖斯塔科维奇对这些谐谑曲的处理特点进行了总结归纳,并与其他作曲家的作品进行了比较。第四章是对肖斯塔科维奇谐谑性音乐风格的成因进行分析,并展现了其体现出的美学原则。肖斯塔科维奇本人十分重视谐谑曲的创作,其创作中谐谑性风格的体现非常有特点,因此本文对其贯穿一生的重要音乐风格进行研究是有意义和价值的。并且本文对谐谑曲的双重贯穿曲式、倒影、集合分析等技法以及谐谑性风格的类型、美学原则等的研究,也是前人没有做过的,笔者在谐谑曲的研究中提出了一些独特的看法,并做了一些总结性的思考。更多还原

【Abstract】 The 20^th century in music is an age characterized by multiple styles, technical innovations and various schools. An outstanding Soviet composer of this century, Shostakovich, with his unique musical style, possessed an important place not only among the Soviet composers but also in the whole world. The symphony is one of the most important genres that he used, which carried many social functions, cultural significance and symbolic meaning. Besides, the scherzo and its own style in the symphony is also considered one of the major elements in the composition of the composer. Thus, this thesis analyzes the characters of scherzo and its style in Shostakovich’s symphonies.This thesis consists of four chapters. The first chapter outlines the development of scherzo in the symphony in various periods, which can be divided into three phases, including many works by important symphonic composers from Germany, Austria, northern and eastern Europe and America. The second chapter analyzes the conspicuous features of the techniques in the scherzo to demonstrate its significant stylistic characters. The nine parts of this chapter make a detailed analysis of the different means employed by Shostakovich in his scherzos, as well as a discussion about the characteristics of the scherzo style. This chapter mainly involves considerations about the ways in which new musical idioms were introduced into traditional forms, certain modernistic techniques, specific spiritual significance of his works and the comparison with other compositions. The third chapter includes two parts. The first part classifies the scherzo styles embodied by the 11 scherzo movements in Shostakevich’s symphonies, and analyzes some other styles appearing in the compositions. The second part makes a summary of the characteristics of the methods Shostakovich applied in his scherzo movements, as well as a comparison with the works by other composers. The fourth chapter discusses the reasons for the formation of the composer’s scherzo style and the aesthetic principles in it.Since Shostakovich placed great importance on scherzo, and the scherzo style embodied in his works is very unique, it is meaningful and valuable to examine such an important element in his career. Moreover, by studying the various techniques—such as inversion and the analysis of set—and the types and aesthetic principles of scherzo style, I hope to contribute something new with my own views and considerations.更多还原