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【作曲技术理论】“器乐化”思维在贝里奥作品Sequenza Ⅲ中的体现
2015-06-02  来源:  点击数:

欧阳鑫勃

摘 要:“新人声主义”(the New Vocalism) 代表着20世纪人们对于“新的声音”的渴望和追求,不仅是音乐文化中涌现出来的一种新的艺术现象,更明确指向一些卓越的作曲家在创作人声作品领域时的开拓和探索。意大利作曲家鲁契亚诺·贝里奥(Luciano Berio)作为其中的佼佼者,自1958年开始就创作的大量作品打开了人声创作“自我解放”之门,而《序列之三——为女声而作》(Sequenza Ⅲ)正是其成熟与顶峰之作。该文将贝里奥此类作品的创作理念概括为“人声器乐化”思维,通过对这部作品独特的文字处理与新人声“演奏技法”的分析,探寻了贝里奥“人声器乐化”思维的具体体现。

关键词:贝里奥;《序列之三——为女声而作》(Sequenza );人声;器乐化思维

The Instrumental Thought Embodied in Sequenza III by Luciano Berio

OUYANG Xin-bo

Abstract: “The New Vocalism” represented the people longing for and pursuit of “new sound” in the 20th century, which not only a new artistic phenomenon that emerged in musical culture, but more specific pointed to some outstanding composers to develop and explore the field of vocal works. The Italian composer Luciano Berio, as one of the best, had created numbers of human voice works since 1958, which open the gate of “self-liberation”, and his Sequenza (1965-6) was a composition of maturity and top one. This paper summed up Berio’s conception of the creation of such works as the thought of “vocal instrumental”, through analyzing its unique words processing and “playing techniques” of new voice, to explore Berio specific embodiment of the thought of “vocal instrumental”.

Key Words: Luciano Berio (1925-2003), Sequenza (1965-6), human voice, instrumental thought

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