黄安伦《B调小提琴协奏曲》的结构-艺术学专业论文.docx

万方数据 万方数据 摘要 本文主要对黄安伦《B 调小提琴协奏曲》（Op.47b，大型作品《交响音乐会第二 号》的第二部分）进行了调式调性与和声、主题与主题材料、曲式结构与陈述结 构、陈述类型等方面的分析，并将该作品各章节的结构特征归纳如下： 《B 调小提琴协奏曲》大体依照西方传统的独奏协奏曲结构组织：第一乐章 是 Allegro 奏鸣曲式；第二乐章是 Larghet 复三部曲式；第三乐章是融入了中国 传统吹打乐结构特点的 Allegro assai 奏鸣曲式，具体体现在呈示部主部以 “主 部”与“过曲”交替出现的多次主题材料变奏与重复构成的循环曲体的结构特点。 在旋律发展方面，作品中运用了各种中西旋法发展旋律，如：重复、模进、 分裂、综合、整合、顶真等；此外，还将中国五声性调式的横向拓展作为旋律的 重要发展手法，如旋宫转调、以宫为角的下属扩展、以角为宫的上属扩展等,为 旋律增添了丰富的色彩。 在和声运用上，作品注重中西音乐在和声方面的各自特点：结构内部更多采 用中国传统五声性调式的音级集合和声，强调调式色彩感，加固中国特色；结构 间更多采用西方突出半音倾向性的功能和声，强调功能和声所特有的动力性，从 而帮助结构的清晰化。 关键词：奏鸣曲式结构 循环曲体 调性调式的横向拓展 功能和声与 色彩和声 Abstract It has done analyses for Huang Anlun’s “Violin Concerto in B” (Op.47b, the second part of large-sized work “Symphony Concert No. 2”) in this dissertation in the fields including the mode, tonality and harmony, the theme and theme material, the structure of music form, the structure of statement, etc. The structure characteristics of each movement of this work are listed as the following: “Violin Concerto in B” is organized as western traditional solo concerto structure in general: Movement One takes Allegro sonata form; Movement Two takes Larghetmultiplextrilogy form; Movement Three takes Allegro assai sonata form, featuring Chinese traditional wind and percussion music structure, which gives expression in the first theme of exposition a circular form made of several times variation and repetition for the alternatively emerged theme material of “the first theme” and “intermezzo”. In the aspect of melody development, it employs various Chinese and western melody principles to develop the melody, such as: repetition, sequence, split, colligation, conformity, joining head and tail of the adjacent sentence, etc. What’s more, the concerto also makes importance use of cross expansion of Chinese Pentatonic Mode, for example, “Gong” mutation and modulation, subdominant expansion when “Gong” plays as “Jiao”, dominant expansion when “Jiao” plays as “Gong”, etc., all of which lend abundant color to the melody. In the utili