• 主题
高级搜索  >
历史搜索 清空历史
首页> 外文学位 >Musical Aesthetics and Creative Identification in Two Harmonielehren by John Adams and Arnold Schoenberg.
【24h】

Musical Aesthetics and Creative Identification in Two Harmonielehren by John Adams and Arnold Schoenberg.

机译：John Adams和Arnold Schoenberg创作的《两个Harmonielehren》中的音乐美学和创作认同。

获取原文
获取原文并翻译 | 示例
页面导航
  • 摘要
  • 著录项
  • 相似文献
  • 相关主题

摘要

The music of John Adams (b. 1947) exemplifies a reinvestment in traditional instrumental genres and musical values that began to take place in contemporary music in the late 1970s and early '80s. His Harmonielehre for orchestra (1984-85) meets many of the conditions of the symphonic genre, including its scoring for full orchestral forces, its multi-movement structure, its presentation of contrary, dialectical melodic gestures, and its dramatic thematic and harmonic conflict. It is thus ironic that Adams would title his composition after a treatise written by Arnold Schoenberg, a figure whose break from the musical past inspired many of the complex and experimental musical models that arose between the publication of his own Harmonielehre (1911, rev. 1922) and that of Adams. But to conclude that Adams' composition is a statement about tonality is perhaps over-simplistic. Examination of the two works reveals more similarities between the composers' artistic philosophies than differences. This dissertation is an attempt to expose these similarities in order to discover the motivations behind Adams' curious decision to title his composition after Schoenberg's treatise, and to gain a deeper understanding of the artistic priorities shared by both composers that arises from the interrelationship between their respective Harmonielehren .;Adams' title is partly a marker of the types of Romantic-era stylizations that pervade his score. But I argue that the relationship between the two Harmonielehren is not merely cursory. Prevalent themes within Schoenberg's prose can inform the analysis and interpretation of Adams' composition. Adams draws on Schoenberg's treatise as a signifier of his creative identification, one that both complements and departs from the creative model presented in Schoenberg's text. Both Harmonielehren confront the aesthetic expectations of their individual times and places, but while Schoenberg centers his creative identification in a discourse of restless inquiry into new materials and models of musical expression, Adams seemingly subscribes to Schoenberg's presentation of composition as craft, as the working-with and fitting-together-of the pre-existing sound vocabularies of music.
机译：约翰·亚当斯（John Adams，1947年生）的音乐体现了对传统器乐风格和音乐价值的重新投资，这种投资开始于1970年代末和80年代初的当代音乐中发生。他的交响乐团的谐音（1984-85）满足了交响曲体裁的许多条件，包括其对完整交响乐团的得分，其多动作结构，相反，辩证的旋律手势表现以及戏剧性的主题和谐调冲突。因此，具有讽刺意味的是，亚当斯会以阿诺德·勋伯格（Arnold Schoenberg）的论文为他的作品取名，该人物从音乐界的突破启发了他自己的Harmonielehre（1911，rev。1922）发行之间出现的许多复杂的和实验性的音乐模型。 ）和亚当斯的作品。但是要得出结论，亚当斯的作品是关于音调的陈述，也许过于简单化了。对这两部作品的考察表明，作曲家艺术哲学之间的相似之处多于差异。本论文试图揭示这些相似之处，以发现亚当斯做出奇才决定以勋伯格的论文命名他的作品背后的动机，并更深刻地理解两位作曲家在彼此之间的相互关系中所享有的艺术优先权。 Harmonielehren。; Adams的头衔在一定程度上标志着浪漫主义时期风格的发展，这些风格贯穿了他的乐谱。但是我认为，这两个Harmonielehren之间的关系不仅是粗略的。勋伯格散文中的流行主题可以为亚当斯作品的分析和解释提供依据。亚当斯借鉴了勋伯格的论文作为其创造性身份的标志，这既补充了勋伯格文本中提出的创造性模型，又与之脱离。两个Harmonielehren都面对着各自时间和地点的审美期望，但是Schoenberg在对新材料和音乐表现模型进行不停地探究的过程中将他的创意定位为中心时，Adams似乎赞成Schoenberg将作曲作为一种手法来表现，与之前存在的音乐词汇相吻合。

著录项

  • 作者

    Strovas, Scott M.;

  • 作者单位

    The Claremont Graduate University.;

  • 授予单位 The Claremont Graduate University.;
  • 学科 Music.
  • 学位 Ph.D.
  • 年度 2012
  • 页码 200 p.
  • 总页数 200
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

相似文献

  • 外文文献
  • 中文文献
  • 专利
获取原文

客服邮箱：kefu@zhangqiaokeyan.com

京公网安备：11010802029741号 ICP备案号：京ICP备15016152号-6 六维联合信息科技 (北京) 有限公司©版权所有

  • 客服微信

  • 服务号