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随着时代的发展,现当代作曲家与音乐学者们开始越来越关注音响本身,主要表现在:打破了原有的和声体系及结构模式;用声音来直观地表达创作思想,强调听觉体验。在这种“回归声音”大趋势下,西方音乐学界产生了一种新的创作分析潮流,即,由波兰音乐学家肖明斯基于1956年提出的声音主义(sonorism)用以总结他在现代音乐创作中的一种新的创作思维与创作技法。本文尝试运用声音主义这一分析理念,以查尔斯·艾夫斯《三页奏鸣曲》中的声音主义元素为切入点进行分析,从而达到帮助演奏者理解和演绎这部作品的目的。
With the development of the times, the modern composers and music scholars began to pay more and more attention to the sound itself, which mainly manifested in breaking the original harmony system and structure model, using the sound to express creative thinking intuitively, emphasizing the auditory experience . In this “trend of return to sound”, Western music scholars have created a new trend of creative analysis, which is based on the sonorism put forward by the Polish musicologist Xiao Mingsi in 1956 to summarize his A New Creative Thinking and Creative Techniques in Modern Music Creation. This thesis attempts to use the analytic concept of sound doctrine to analyze the phonetic elements of Charles Ivers’ “Sonatas of the Three Dynasties”, so as to help the performers understand and interpret this work.