斯特拉文斯基新古典主义时期作品中的调性扩张技法.pdfVIP

摘要 伊戈尔•菲德洛维奇•斯特拉文斯基 (Igor Fyodorovich Stravinsky， 1882-1971) 为20 世纪最具有影响力的作曲家之一，也是创作最多元化的作曲家 之一。他的创作可分为三个时期：民族主义时期、新古典主义时期、序列主义时 期。 本文所关注的创作时期为新古典主义时期。笔者以新古典主义时期《管乐八 重奏》、《bE 大调协奏曲》、《C 大调交响曲》为主要研究对象，通过分析研究与论 述，提炼出斯特拉文斯基在新古典主义时期作品中采用的调性扩张技法。 论文的第一章论述了斯特拉文斯基在作品中采用的多元调关系。笔者结合了 三部作品的结构与调性布局，研究了体现在回归曲式与奏鸣曲式中的多元调关系。 论文的第二章论述了斯特拉文斯基在这一时期作品中的调性确立方式。调性的确 立为调性扩张的前提。其既采用了与共性写作时期相似的调性确立方式，又采用 了通过旋律、持续音、固定音型等多种多样的调性确立方式。 论文的第三章论述了斯特拉文斯基在这一时期作品中采用的调性扩张技法。 当调中心不发生改变时，采用了建立在自然音基础上的外音、调式综合、复合和 弦、八声音阶的调性扩张技法。在调性中心发生改变时，采用了调式交替、转调 模进的调性扩张技法。 结论在前文基础上总结了斯特拉文斯基新古典主义时期的音高特征与调性 扩张技法。斯特拉文斯基调性扩张技法与其分层写作的横向写作思路进行结合， 形成了其独具个性的音乐语言。 关键词：新古典主义,调性确立方式,调性扩张技法 i Abstract Igor Fyodorovich Stravinsky is one of the most influential composers of the 20 century. His work is also one of the most multi-faceted. Three periods could be found in his work, ‘Neo-nationalism ’, ‘Neo-classicism ’and ‘Serialism’ . The period of Neo-classicism is what this article talks about. Octet for Wind Instruments, Concerto in E flat, Symphony in C, these three pieces is analyzed in this article. Tonality expansion techniques used by Stravinsky in the period of Neo-classicism could be concluded after analyzing these three pieces. The first chapter discusses about variety of relationships between tonalities which is based on different kinds of form of pieces, for instance, sonata form and ritornello. The second chapter is about the ways that Stravinsky used to set up a key. The expansion of tonality is based on tonal music. Therefore, it is necessary to discuss about how to set up a key first. Stravinsky imitated the technique to set up a key that composers used in common practice, but made differences. In addition, he used other ways to set up a key, for instance, using melody, pedal tone and ostinato. The last chapter sh