拉威尔钢琴组曲《镜子》的和声研究

发布时间：2018-04-19 03:26

本文选题：拉威尔 + 和声进行　；参考：《山东师范大学》2009年硕士论文

【摘要】： 莫里斯·拉威尔(Maurice Ravel,1875-1937)是19世纪末20世纪初法国最杰出的印象派作曲家之一,他与本国作曲家德彪西一并被公认为是印象主义音乐的集大成者。作为印象主义音乐最卓越代表德彪西的继承者,拉威尔进一步拓展了印象主义音乐的创作技法,并将法兰西和西班牙的民族音乐特征融入到音乐创作中。与德彪西相比,拉威尔侧重于对客观印象的描绘,更注意与传统的联系,是在继承传统的基础上锐意创新,从而形成自己独特的创作风格,进而对20世纪纷繁复杂的近现代音乐的发展产生了重要的影响。本文选取拉威尔早期具有代表性的钢琴组曲《镜子》为素材,以其和声技法作为研究对象,在相关拉威尔音乐研究成果的基础上,借助音乐形态学、音乐创作学等理论知识,采用归纳总结的方法,通过对调式、调性、和弦结构形式以及和声运动形式等四个方面进行研究,从中探究拉威尔早期作品独特的印象派音乐的和声技法,为今后进一步深入、细致地研究拉威尔音乐作品的和声风格特征奠定坚实的基础。全文共分以下四个部分: 第一章:拉威尔生平及音乐创作的主要特征。这一章首先介绍了拉威尔的生平及其主要的音乐作品,然后简要说明了拉威尔音乐创作的主要特征。第二章:钢琴组曲《镜子》的概述。这一章首先叙述了钢琴组曲《镜子》的创作背景及体裁特征,然后对钢琴组曲《镜子》进行总体的概观分析,从整体上把握作品的概貌。第三章:钢琴组曲《镜子》的和声技法。这一章是全文的主体部分,分别从调式(教会调式、五声调式、全音调式、西班牙调式、同主音调式交替)、调性(古典调性、旋律性调性、持续音性调性、调性布局)、和弦结构形式(三度叠置和弦、非三度叠置和弦、复合和弦)、和声运动形式(各种音程关系的根音进行、调式化和声进行、平行进行)等四个方面详细论述拉威尔钢琴组曲《镜子》的和声技法特征。结语部分:是在上述研究的基础上,从四个方面归纳总结了拉威尔钢琴组曲《镜子》的个性化的印象派和声技法特征,进一步阐明了这部作品的理论价值和深远影响。
[Abstract]:Maurice Raveln (1875-1937) is one of the most outstanding Impressionist composers in France at the end of the 19th century and the beginning of the 20th century.As the successor of Debussy, the most outstanding representative of Impressionist music, Ravel further expanded the creative techniques of Impressionist music and incorporated the characteristics of French and Spanish folk music into his musical creation.Compared with Debussy, Ravel focuses on the description of objective impression, pays more attention to the connection with tradition, and is determined to innovate on the basis of inheriting tradition, thus forming his own unique creative style.The development of modern and complicated music in the 20 th century has had an important impact.This paper selects Ravel's early representative piano suite "Mirror" as the material, takes its harmony technique as the research object, on the basis of the related research results of Ravel's music, with the help of the theoretical knowledge of music morphology, music creation and so on.By using the method of induction and summary, through the research on the four aspects of mode, tonality, chord structure form and harmony movement form, this paper probes into the unique harmony techniques of the impressionist music in Ravel's early works, so as to further explore them in the future.The detailed study of the harmony style of Ravel's music works laid a solid foundation.The thesis is divided into four parts as follows:Chapter one: Ravel's life and the main characteristics of music creation.This chapter first introduces Ravel's life and his main musical works, and then briefly explains the main features of Ravel's music creation.Chapter two: an overview of Piano Suite Mirror.This chapter first describes the background and genre features of piano suite "Mirror", and then makes a general analysis of the piano suite "Mirror", so as to grasp the overall picture of the works.Chapter three: harmony technique of Piano Suite "Mirror".This chapter is the main part of the full text, respectively from the tone (church mode, pentatonic, full tone, Spanish tone, with the main tone alternating, tonality (classical tonality, melodic tonality, persistent tonality,Tonal layout, chord structure form (triple superimposed chord, non-tridimensional superimposed chord, compound chord, harmonic motion form (root tone of various interval relations, modulation harmony,This paper discusses in detail the harmonic techniques of Ravel's Piano Suite Mirror.Conclusion: on the basis of the above research, this paper summarizes the characteristics of the individualized impressionist harmony technique of Ravel's Piano Suite "Mirror" from four aspects, and further clarifies the theoretical value and far-reaching influence of this work.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J624.1

【引证文献】