【作曲技术理论】水墨写意 破晓啼莺-武汉音乐学院
《黄钟》编辑部
【作曲技术理论】水墨写意 破晓啼莺
——希纳斯特拉两首《大提琴协奏曲》的“渲染”与“马尔可夫链”创作技法研究
2016-11-15  来源:  点击数:

郝 梦

摘要:文章分析了希纳斯特拉“新表现主义”风格的两首《大提琴协奏曲》。作品借鉴了西欧文艺复兴时期达·芬奇的“渲染”绘画技法,形成了视觉与听觉相连觉的配器效果。同时,作品乐章内部与乐章之间均体现了一种类似“马尔可夫链”形态的曲式结构,引领着全曲由黑暗走向黎明,最终达到破晓啼莺的意境。

关键词:希纳斯特拉;大提琴协奏曲;新表现主义;渲染;马尔可夫链

Ink Freehand Brushwork Dawn Singing Orioles

— the “Sfumato” Music Idea and “Markov Chain” Creative Techniques in Two of Ginastera's Cello Concerto

HAO Meng

Abstract: Ginastera’s two Cello Concertos were composed during his third musical period, ‘neo-Expressionism’ (1958-83). The works' orchestration drawing on the Renaissance of Da Vinci’s “sfumato” painting techniques formed anorchestration effect of visual and auditory perception linked to each other. And meanwhile, on the both of movement inner and among the movements, the structure of the form was embodied the shape like the “Markov chain”, which guiding the whole work from the darkness to the dawn, and finally achieve the imagination of the warbler singing in dawn.

Key Words: Alberto Ginastera (1916-1983), cello concerto, neo-Expressionism, Sfumato, Markov chain

上一条:【作曲技术理论】音乐活性构造·过程构造(中)
下一条:【作曲技术理论】莫扎特《音乐骰子游戏》与约翰•凯奇《变之音乐》比较研究

关闭