https://scholars.lib.ntu.edu.tw/handle/123456789/20357
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor | 楊建章 | en |
dc.contributor | 臺灣大學:音樂學研究所 | zh_TW |
dc.contributor.author | 楊雅婷 | zh |
dc.contributor.author | Yang, Ya-Ting | en |
dc.creator | 楊雅婷 | zh |
dc.creator | Yang, Ya-Ting | en |
dc.date | 2006 | en |
dc.date.accessioned | 2007-11-27T03:09:36Z | - |
dc.date.accessioned | 2018-05-29T08:54:17Z | - |
dc.date.available | 2007-11-27T03:09:36Z | - |
dc.date.available | 2018-05-29T08:54:17Z | - |
dc.date.issued | 2006 | - |
dc.identifier | zh-TW | en |
dc.identifier.uri | http://ntur.lib.ntu.edu.tw//handle/246246/56257 | - |
dc.description.abstract | 「暗示與實現」是邁爾(Leonard B. Meyer)用於解釋調性音樂意義的理論依據,本論文嘗試依「暗示與實現」的概念,來分析融入爵士元素後的蓋希文器樂作品–《藍色狂想曲》、《F調鋼琴協奏曲》與《一個美國人在巴黎》,以歸納蓋希文的風格策略。 本論文先從旋律的分析出發,以「暗示與實現」來解釋蓋希文樂句完整的特殊策略,並借用旋律修辭學來解釋音樂形態的弱化;再從和聲與旋律的對應關係,總結歸納蓋希文的風格策略;最後是柯普蘭《鋼琴協奏曲》與蓋希文「暗示與實現」策略的比較,以驗證蓋希文風格策略的特殊性。 從本論文的分析可知,音樂的連續方式(如樂句、樂段的構成)會因為音樂元素的不同而呈現特殊的「暗示與實現」樣態,爵士樂的融入擴充了邁爾「暗示與實現」的可能性,也為蓋希文的風格策略提供了線索。 蓋希文的旋律有以藍調音階、特殊分解和絃、四音音階、五度音程等材料、及以張力、動機、對比等句法,來構成旋律「完整」的風格策略,還有以旋律修辭學來構成旋律「弱化」的策略。在節奏上則使用「弱拍上的重音」、「由弱拍開始的樂句」來構成節奏的特殊性。雖然和聲也因為爵士樂的融入而形成特殊的音響,但蓋希文和聲在整體設計上的功用,在於製造音樂色彩、增加旋律織體,尤其在重複的旋律樂句下對應變化,以構成趣味。蓋希文和聲在音樂進行的主導性並不及旋律,而旋律除了主導蓋希文音樂的進行之外,更對於和聲的轉調有暗示的作用。論文的最後是以柯普蘭《鋼琴協奏曲》第二樂章作為比較驗證的對象,分析的結果顯示,同時代、同樣選擇爵士樂元素來創作的不同作曲家,其作品並不一定會呈現相同的風格策略,由此驗證蓋希文風格策略的特殊性。 | zh_TW |
dc.description.abstract | “Implication-realization” is the foundation of Leonard B. Meyer’s theory of tonal music. Based on Meyer’s theory, this paper introduces George Gershwin’s musical style by analyzing his orchestral works includung “Rhapsody in Blue,” “An American in Paris,” and “Concerto in F for Piano and Orchestra.” This paper begins with the analysis of melodies, applying the “implication-realization” model and the theory of musical rhetorics to explore the strategies of Gershwin’s musical phrases. Then this paper discusses the relationship between harmony and melody. Finally, this paper intends to highlight Gershwin’s musical style by comparing strategies of “implication-realization” in Aaron Copland’s “Concerto for Piano and Orchestra” and Gershwin’s music. This paper analyzes that different musical elements result in special style of “implication-realization” on the continuous ways of music. Music fused with jazz expands the possibilities of Meyer’s theory, and also provide clues for Gershwin’s strategies of style. To construct the “complete” strategies of style for the melody, Gershwin uses materials such as blue scales, special broken chord, Tetrachords and fifth intervals, and sequences such as tension, motive and contrast; besides, he constructs the particularity of the rhythms, Gershwin uses “upbeat emphasis” and “phrases starting from upbeat emphasis”. Although Gershwin’s harmony fusing with jazz shapes special sounds, its function on the holistic design is to produce musical color and increase melody texture, especially to form interest by making corresponding variations under repetitive melody phrases. In Gershwin’s music processing, the dominance of the harmony is inferior to that of the melody. In the end, this paper makes comparison between Gershwin’s work and Copland’s “Concerto for Piano and Orchestra mov.2”. The analysis shows that, different composers, who choose the same elements in the same period of time, do not necessarily present the same strategies of style. Therefore, the particularity of Gershwin’s strategies of style is examined. | en |
dc.description.tableofcontents | 表例目錄 vii 圖例目錄 viii 譜例目錄 ix 中文摘要 xiv 英文摘要 xvi 1 緒論 1 1.1 引論 1 1.2 風格說 3 1.3 音樂的暗示與實現 4 1.4 形態的弱化: 音樂修辭學 8 1.5 前人對於蓋希文風格在旋律、和聲、曲式的研究 10 1.5.1 旋律 10 1.5.2 和聲 13 1.5.3 曲式 15 1.6 章節編排 17 2 旋律「暗示與實現」的樣態 19 2.1 爵士材料構成樂句完整的策略 20 2.1.1 藍調音階的暗示與實現 20 2.1.2 由特殊分解和絃構成的暗示與實現 30 2.1.3 四音音階的暗示與實現 31 2.2 其他材料構成樂句完整的策略–五度的暗示與實現 33 2.3 句法上構成樂句完整的策略 36 2.3.1 動機與樂句的完整性—呼叫與應答(Call and Response) 36 2.3.2 對比與樂句的完整性 39 2.4 構成樂句形態弱化的策略 41 2.4.1 Accentus 的使用 42 2.4.2 音樂的重覆 44 2.4.3 Abruptio的使用 53 2.5 旋律中的節奏特殊性 56 2.5.1 弱拍上的重音 56 2.5.1.1 強調藍調音 57 2.5.1.2 變化重複的樂句 58 2.5.1.3 維持節奏形態 59 2.5.1.4 往上跳進所造成的效果 61 2.5.2 由弱拍開始的樂句 62 2.6 小結 63 3 蓋希文和聲與旋律策略的對應情形 67 3.1 調性和聲在音樂上的作用 68 3.2 非功能和聲在音樂中的作用 73 3.3 大樂段內和聲與旋律的對應關係 81 3.3.1 和聲調性與旋律的對應變化 81 3.3.2 和聲與旋律在大樂段內音樂織體的變化 87 3.3.2.1 旋律高點與和聲高點不一致 88 3.3.2.2 旋律高點與和聲高點一致 92 3.4 整體結構 98 3.4.1 旋律樂句與對應和聲的連接排列狀態 98 3.4.2 作品整體內輪廓類似的旋律與和聲的對應情形 111 3.4.2.1 旋律相同,和聲架構也相同 111 3.4.2.2 旋律相同,和聲架構不同 113 3.4.2.3 旋律輪廓類似,和聲架構相同 116 3.4.2.4 旋律輪廓類似,和聲架構不同 117 3.5 《藍色狂想曲》與《一個美國人在巴黎》旋律、和聲關係比較總結 118 4 蓋希文風格與柯普蘭《鋼琴協奏曲》風格策略之異同 121 4.1 蓋希文的風格策略 122 4.2 柯普蘭《鋼琴協奏曲》的風格策略 123 4.2.1 構成樂句完整的策略 123 4.2.1.1 三度旋律動機的暗示與實現 124 4.2.1.2 音樂重複構成的暗示與實現 126 4.2.1.3 Abruptio構成的暗示與實現 130 4.2.1.4 模仿式對位構成的暗示與實現 131 4.2.2 節奏的特殊性 132 4.2.3 整體結構 134 4.3 蓋希文風格與科普蘭《鋼琴協奏曲》風格策略的比較 139 4.3.1 構成旋律完整策略的比較 139 4.3.2 構成旋律弱化策略的比較 141 4.3.3 節奏策略之比較 142 4.3.4 和聲策略比較 142 4.3.5 整體架構比較 143 參考文獻 145 | zh_TW |
dc.language | zh-TW | en |
dc.language.iso | en_US | - |
dc.subject | 暗示與實現 | en |
dc.subject | 策略 | en |
dc.subject | 風格 | en |
dc.subject | 旋律修辭學 | en |
dc.subject | 《藍色狂想曲》 | en |
dc.subject | 《F調鋼琴協奏曲》 | en |
dc.subject | 《一個美國人在巴黎》 | zh_TW |
dc.subject | Implication-realization | en |
dc.subject | Strategy | en |
dc.subject | Style | en |
dc.subject | Musical Poetics | en |
dc.subject | “Rhapsody in Blue” | en |
dc.subject | “Concerto in F for Piano and Orchestra” | en |
dc.subject | “An American in Paris” | en |
dc.title | 蓋希文器樂音樂語法的風格策略-以《藍色狂想曲》、《F調鋼琴協奏曲》與《一個美國人在巴黎》為例 | zh_TW |
dc.title | Gershwin's Melodic Strategies in Instrumental Music:A Stylistic Study of "Rhapsody in Blue," “Concerto in F for Piano and Orchestra," and "An American in Paris" | en |
dc.type | other | en |
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item.languageiso639-1 | en_US | - |
item.grantfulltext | none | - |
item.cerifentitytype | Products | - |
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