【作曲技术理论】拉威尔与德彪西《空求》比较研究-武汉音乐学院
《黄钟》编辑部
【作曲技术理论】拉威尔与德彪西《空求》比较研究
2016-06-26  来源:  点击数:

王中余

摘要:文章以拉威尔和德彪西创作于1913年的《马拉美诗歌三首》之第二首《空求》为研究对象,考察两首作品音乐和诗歌之间的关系并比较两位作曲家处理方式的异同。声乐部分比较的范畴包括旋律轮廓、节奏、休止符等,器乐部分考察主题动机、各片段的参照集合或所使用的音阶、低音进行以及器乐声部对声乐部分的重复等。在分析和比较过程中,从诗歌的押韵、标点、诗歌跨行等形式特点以及诗歌情节的转折两个维度考察音乐和诗歌之间的联系。

关键词:拉威尔;[法]德彪西;马拉美诗歌三首》;空求;诗乐关系

A Comparison of Ravel and Debussy’s Placet futile

WANG Zhong-yu

Abstract: This article takes the second poem Placet futile of Trois poèmese de Stéphane Mallarmé (1913) as the object of research and attempts to explore the relationship between poetry and music ofthe two musical pieces and compare the differences between them. The category of vocal comparison falls into contour, rhythm, rest and etc. Instrumental comparison takes into account the following factors: theme-motive, referential collection, scale, base progression and repetition. In analytic comparison, the article explores the relationship between poetry and music from the perspectives of its form like rhyme, punctuation, span and its plot.

Key Words: Maurice Ravel (1875-1937), Achille-Claude Debussy (1862-1918), Trois poèmese de Stéphane Mallarme (1913), Placet futile (1913), relationship between poetry and music

上一条:【作曲技术理论】音乐活性构造·过程构造(上)
下一条:【作曲技术理论】梅西安晚期管弦乐作品的创作特征

关闭