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完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 王育雯 | |
dc.contributor.author | Chien-Jung Li | en |
dc.contributor.author | 李健嫆 | zh_TW |
dc.date.accessioned | 2021-06-16T13:03:57Z | - |
dc.date.available | 2013-08-07 | |
dc.date.copyright | 2013-08-07 | |
dc.date.issued | 2012 | |
dc.date.submitted | 2013-08-05 | |
dc.identifier.citation | 中文文獻:
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Berger, Arthur. “Problem of Pitch Organization in Stravinsky,” in Perspectives of New Music 2/1 (autumn–winter 1963): 11-42. Boulez, Pierre. “Stravinsky Remains,” in Stocktakings from an Apprenticeship. Trans. Stephen Walsh. Oxford: Clarendon Press; N.Y.: Oxford University Press, 1991, 55-110. Boys, Henry “Note on the New ‘Perouchka’,” in Tempo New Series 8 (summer 1948): 15-18. Carol L. Krumhansl. “Music Psychology and Music Theory: Problems and Prospects,” in Music Theory Spectrum 17, 1 (spring 1995): 53-80. Cone, Edward T.. “Stravinsky: The Progress of a Method,” in Perspectives of New Music 1, 1 (autumn 1962): 18-26. Cook, Nicholas. A Guide to Musical Analysis. Oxford: Oxford University Press, 1987. Cooper, Grosvenor and Leonard B. Meyer. The Rhythmic Structure of Music. Chicago: University of Chicago Press, 1960. Cross, Jonathan. The Stravinsky Legacy. N.Y.: Cambridge University Press, 2000. ________., ed. The Cambridge Companion to Stravinsky. N.Y.: Cambridge University Press, 2003. Ellis, Willis D., ed. A Source Book of Gestalt Psychology. London: Routledge, 1969. Gritten, Anthony. “Edward T. Cone. Stravinsky: The Progress of a Method,” in The Musical Times 139, 1862 (Apr. 1998): 4+6-13. Hasty, Christopher F.. “On the Problem of Succession and Continuity in Twentieth-Century Music,” in Music Theory Spectrum 8 (spring 1986): 58-74. ________. Meter as Rhythm. N.Y.: Oxford University Press, 1997. Heintze, James R., ed. Igor Stravinsky: An International Bibliography of Theses and Dissertations 1925-87. Warren, Mich: Harmonie Park Press, 1988. Hopkins, G.W.. “Stravinsky’s Chords,” in Tempo New Series 76 (spring 1966): 6-12. Kielian-Gilbert, Marriane. “Relationship of Symmetrical Pitch-Class Sets and Stravinsky’s Metaphor of Polarity” in Perspectives of New Music 21, 1-2 (autumn 1982-summer 1983): 209-240. ________. “The Rhythms of Form: Correspondence and Analogy in Stravinsky’s Designs” in Music Theory Spectrum 9 (spring 1987): 42-66. Koffka, Kurt. Principle of Gestalt Psychology. N.Y.: Harcourt, Brace & co., Inc., 1935. Kramer, Jonathan D.. “Moment Form in Twentieth Century Music.” in The Musical Quarterly 64, 2 (Apr. 1978): 177-194. Meyer, Leonard B.. Emotion and Meaning in Music. Chicago: University of Chicago Press, 1956. ________. Explaining Music: Essays and Explorations. Berkeley: University of California Press, 1973. Murray, David J.. Gestalt psychology and the Cognitive Revolution. N.Y.; London: Harvester Wheatsheaf, 1995. Narmour, Eugene. The Analysis and Cognition of Basic Melodic Structures: the Implication-Realization Model. Chicago: University of Chicago Press, 1990. ________. The Analysis and Cognition of Melody Complexity: the Implication-Realization Model. Chicago: University of Chicago Press, 1992. Paddison, Max. Adorno’s Aethestics of Music. N.Y.: Cambridge University press, 1993. Pasler, Jann, ed. Confronting Stravinsky: Man, Musician, and Modernist. U.S.: University of California Press, 1988. Rehding, Alexander. “Towards a ‘Logic of Discontinuity’ in Stravinsky's 'Symphonies of Wind Instruments': Hasty, Kramer and Straus Reconsidered,” in Music Analysis 17, 1 (Mar. 1998): 39-65. Somfai, L.. “Symphonies of Wind Instruments (1920): Observations on Stravinsky's Organic Construction,” in Studia Musicologia Academiae Scientiarum Hungaricae 14, 1-4 (1972): 355-383. Sternfeld, Frederick W.. “Some Russian Folk Songs in Stravinsky’s Petrouchka,” in Notes Second Series 2, 2 (Mar. 1945): 95-107. Straus, Joseph N.. “A Principal of Voice-leading in the Music of Stravinsky,” in Music Theory Spectrum 4 (spring 1982): 106-124. ________. “Stravinsky’s Tonal Axis,” in Journal of Music Theory 26, 2 (autumn 1982): 261-290. Stravinsky, Igor. Poetics of Music: In the Form of Six Lessons. Trans. Arthur Knodel and Ingokf Dahl. Cambridge, Mass.: Harvard University Press, 1970. Stravinsky, Igor and Robert Craft. Conversations with Igor Stravinsky. N.Y.: Doubleday and Company, 1959. Sundqvist, Fredrik. Perceptual Dynamics: Theoretical Foundations and Philosophical Implications of Gestalt Psychology. Sweden: Intellecta Docusys, Goteborg, 2003. Taruskin, Richard. “Chez Petrouchka: Harmony and Tonality ‘chez’ Stravinsky,” in 19th-Century Music 10, 3 (spring 1987): 265-286. ________. Stravinsky and the Russian Traditions: A Biography of the Works through Mavra. Berkeley: University of California Press, 1996. ________. Defining Russia Musically. New Jersey: Princeton University Press, 1997. Van den Toorn, Pieter C.. “Some Characteristics of Stravinsky’s Diatonic Music,” in Perspectives of New Music 14, 1 (autumn-winter 1975): 104-138. ________. Stravinsky and the Rite of Spring: The Beginnings of a Musical Language. Berkeley: University of California Press, 1987. ________. “Stravinsky Re-Barred,” in Music Analysis 7, 2 (Jul. 1988): 165-195. ________. “Stravinsky, Adorno, and the Art of Displacement,” in The Musical Quarterly 87, 3 (fall 2004): 468-509. Van den Toorn, Pieter C. and Demitri Tymoczko. “Stravinsky and Octatonic: The Sound of Stravinsky” in Music Theory Spectrum 25, 1 (spring 2003): 167-202. Wachtel, Andrew, ed. Petrushka: Sources and Contexts. Evanston, Ill.: Northwestern University Press, 1998. Walsh, Stephen. Stravinsky: a Creative Spring: Russia and France, 1882-1934. N.Y.: Alfred A. Knopf, 1999. ________. The Music of Stravinsky. Oxford, London: Clarendon Paperbacks; N.Y.: Routledge, 1988. 影音資料: Stravinsky, Igor. Petrushka. Igor Stravinsky dir. Columbia Symphony Orchestra. MK 42433 CBS Records, 1988. 樂譜: Stravinsky, Igor. Petrushka: Original Version 1910-11. Mineola, N.Y.: Dover, 1999. ________. Petrushka: For Solo Piano: Complete Ballet. Mineola, N.Y.: Dover, 2006. 網路資源: Stephen Walsh, “Stravinsky, Igor,” in Grove Music Online, Oxford Music Online. Available:http://www.oxfordmusiconline.com/subscriber/article/grove/music/52818?q=Igor+Stravinsky&source=omo_gmo&search=quick&pos=1&_start=1#firsthit. 2012年5月31日15時擷取。 Leon Botstein, “Modernsim,” in Grove Music Online, Oxford Music Online. Available:http://www.oxfordmusiconline.com/subscriber/article/grove/music/40625?q=modernism&search=quick&source=omo_gmo&pos=1&_start=1#firsthit. 2012年5月31日15時擷取。 Jann Pasler, “Postmodernism,” in Grove Music Online, Oxford Music Online. Available:http://www.oxfordmusiconline.com/subscriber/article/grove/music/40721?q=postmodernism&search=quick&source=omo_gmo&pos=1&_start=1#firsthit. 2012年5月31日15時擷取。 | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/61481 | - |
dc.description.abstract | 史特拉汶斯基(Igor Stravinsky, 1882-1971)被稱為現代主義的作曲家之一,其作品經常予人停滯、片段和不連續等印象。但經由本論文分析《彼得羅西卡》(Petrushka, Petrouchka, 1911)第一場(first tableau)發現,樂曲中的「前進力與結束感」,或統稱「動力進程」(dynamic process),是以節奏單元、音高旋律等要素建構而成的。其節奏單元的編排乃「從不規律到規律」的過程,符合「完型心理學」(Gestalt psychology) 的感知原則。除此之外,根據「旋律預期理論」(Implication-Realization theory),部分樂段的音高設計符合「空缺填補」(gap-filling)原則。藉此,本研究從調性與音集和聲之外的音樂要素切入,期能提供理解《彼得羅西卡》動力進程的其他面向。 | zh_TW |
dc.description.abstract | Works of Igor Stravinsky are usually considered as featuring stasis, fragmented and disintegrated, and hence is one of composers of musical modernism. In his ballet Petrushka (1911), however, he deviates this surface features, and instead establishes a new dynamic. With an analysis of the first tableau of Petrushka, this thesis proposes that a sense of ‘progression and closure’ or ‘dynamic process,’ is established through rhythmic cellular groupings and melodic structure, rather than through pitch organization. Stravinsky creates a special sense of ‘dynamic process,’ achieved not through tonal progression, but through manipulation of cellular groupings in relation to degrees of order. Tension and release in this process may be explained through Gestalt psychology. In addition, they may be also explained based on the gap-filling principle in terms of melodic structure. | en |
dc.description.provenance | Made available in DSpace on 2021-06-16T13:03:57Z (GMT). No. of bitstreams: 1 ntu-101-R99144001-1.pdf: 10096380 bytes, checksum: 67e3af1b19c28f4e4dce62febef2ff10 (MD5) Previous issue date: 2012 | en |
dc.description.tableofcontents | 圖表目次 ......................................................................................................................II
譜例目次 .....................................................................................................................III 第一章 緒論 .......................................................................................................................1 第一節 研究對象與範圍 .......................................................................................................................1 第二節 文獻回顧 .......................................................................................................................2 第三節 研究動機與目的 .......................................................................................................................4 第四節 研究方法 .......................................................................................................................6 第二章 《彼得羅西卡》第一場景的基本架構 ......................................................................................................................11 第一節 段落編排 ......................................................................................................................11 第二節 「軸」的連結機制 ......................................................................................................................21 第三節 小結 ......................................................................................................................28 第三章 《彼得羅西卡》第一場景的動力進程 ......................................................................................................................29 第一節 動力趨向:規律化 ......................................................................................................................29 第二節 動力來源:空缺填補 ......................................................................................................................43 第三節 動力進程:規律化與空缺填補 ......................................................................................................................45 第四節 小結 ......................................................................................................................52 第四章 結論 ......................................................................................................................53 參考文獻 ......................................................................................................................56 附錄一 分析史特拉汶斯基音樂的文獻整理 ......................................................................................................................60 附錄二 完型心理學原理 ......................................................................................................................63 附錄三 各幕連接的總譜 ......................................................................................................................64 附錄四 素材演變的總譜 ......................................................................................................................68 | |
dc.language.iso | zh-TW | |
dc.title | 《彼得羅西卡》第一場景的動力進程 | zh_TW |
dc.title | Dynamic Process in the First Tableau of Petrushka | en |
dc.type | Thesis | |
dc.date.schoolyear | 101-2 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 楊聰賢,蕭慶瑜 | |
dc.subject.keyword | 《彼得羅西卡》,動力進程,規律化,空缺填補,完型心理, | zh_TW |
dc.subject.keyword | Petrushka,dynamic process,regularization,gap-filling,Gestalt psychology, | en |
dc.relation.page | 75 | |
dc.rights.note | 有償授權 | |
dc.date.accepted | 2013-08-05 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 音樂學研究所 | zh_TW |
顯示於系所單位: | 音樂學研究所 |
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