請用此 Handle URI 來引用此文件：
http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/35070完整後設資料紀錄
| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.advisor | 王育雯 | |
| dc.contributor.author | Pei-Yu Wu | en |
| dc.contributor.author | 吳佩俞 | zh_TW |
| dc.date.accessioned | 2021-06-13T06:40:10Z | - |
| dc.date.available | 2005-08-09 | |
| dc.date.copyright | 2005-08-09 | |
| dc.date.issued | 2005 | |
| dc.date.submitted | 2005-08-01 | |
| dc.identifier.citation | 馬克•吉美尼斯(Marc Jimenes)著, 欒棟、關寶艷譯, 1990, 《阿多諾：藝術、意識型態與美學理論》, 台北：遠流.
米蘭•昆德拉著, 翁德明譯, 2004, 《被背叛的遺囑》, 台北：皇冠 Adorno, Theodor W., translated by Anne G. Mitchell and Wesley V. Blomster , 1994, Philosophy of Modern Music. New York : Continuum. Badarak, Mary lynn Place, 1987, A theory of organic structure in the music of Igor Stravinsky, PhD diss., Music: Northwestern U., 286 p. Bass, Claude, 1972, Phrase structure and cadence treatment in the music of Stravinsky, PhD diss., Theory: North Texas State U., 188 p. Berger, Arthur, 1963, “Problems of Pitch Organization in Stravinsky” Perspectives of New Music, 2, pp. 11-42. Carter, Chandler, 1995, The progress in The rake's return, PhD diss., City U. of New York, 195 p. -----------------1997, “Stravinsky's special sense: The rhetorical use of tonality in The rake's progress.” Music theory spectrum: The journal of the Society for Music Theory, vol. 19, no.1, p. 55-80. Cone, Edward T., 1962, “Stravinsky: The Progress of a Method.” Perspectives of New Music 2, pp. 19-26. Cross, Jonathan, 1998 , “Conclusions：Stravinsky, Adorno and the Problem of Non-development”, in The Stravinsky Legacy. Cambridge：Cambridge University Press. Forte, Allen, 1988, “New approaches to the linear analysis of music.” Journal of the American Musicological Society, 41/2, pp. 315-348. Graybill, Roger, 1989, “Intervallic transformation and closure in the music of Stravinsky.” Theory and practice, vol. 14-15, p. 13-34. Horlacher, Gretchen, 1990, Superimposed strata in the music of Igor Stravinsky, PhD diss., Music theory: Yale U., 188 p. -----------------1995, “Metric irregularity in Les noces: The problem of periodicity.” Journal of music theory, vol. 39, no.2, p. 285-309. Johnson, Paul, 1981, The first movement of Stravinsky's 'Symphony in C': its syntactical bases and their implications. PhD diss.: Princeton U. 148 p. -----------------1987, “Cross-collectional techniques of structure in Stravinsky's centric music.” In: Stravinsky retrospectives. p.55-75. Lincoln: U. of Nebraska. Kielian-Gilbert, Marianne, 1981, Pitch-class function, centricity, and symmetry as transposition relations in two works of Stravinsky. Ph.D. dissertation, Michigan University. -----------------1983, “Relationships of symmetrical pitch-class sets and Stravinsky's metaphor of polarity.” Perspectives of New Music 21, pp.209-240. -----------------1987, “Patterns of repetition in the Hymne of Stravinsky's Serenade en la: The rhythmic modeling of musical ideas.” Theory and Practice 12, pp. 11-25. ------------------1987, “The rhythms of form: Correspondence and analogy in Stravinsky's designs.” Music Theory Spectrum, 9, pp. 42-66. ------------------1991, “Stravinsky's contrasts: Contradiction and discontinuity in his neoclassic music.” The Journal of Musicology, 9/4, pp. 448-480. Messing, Scott, 1988, Neoclassicism in Music: from the Genesis of the Concept through the Schoenberg/Stravinsky Polemic. Ann Arbor, Mich. : UMI Research Press. Morgan, Robert, 1978, “Dissonant prolongations, perfect fifths, and major thirds in Stravinsky's piano concerto.” In Theory Only, 4/4, pp. 3-7. Rogers, Lynne, 1992, “Dissociation in Stravinsky’s Russian and Neoclassical Music.” International Journal of Musicology 1, pp. 201-228. Straus, Joseph N., 1981, A Theory of Harmony and Voice-Leading in the Music of Igor Stravinsky. Ph.D. dissertation, Yale University. ------------------1982, “A Principle of Voice Leading in the Music of Stravinsky.” Music Theory Spectrum 4, pp. 106-124. ------------------1982, “Stravinsky’s Tonal Axis.” Journal of Music Theory, 26/2, pp. 261-291. ------------------1987, “The problem of coherence in Stravinsky's Serenade en la.” Theory and Practice 12, pp. 3-10. ------------------1991, “The progress of a motive in Stravinsky's the rake's progress.” The Journal of Musicology, 9/2, pp. 165-185. Igor Stravinsky, 1958, An Autobiography. New York: M. & J. Steuer. Thomason, Malone, 1987, Neo-tonality: A unified approach to Stravinsky's neo-classical music. PhD diss., Music: U. Texas, Austin, 314 p. Van den Toorn, Pieter, 1975, “Some Characteristics of Stravinsky’s Diatonic Music.” Perspectives of New Music, 14/1, pp. 104-138. ------------------1983, The music of Igor Stravinsky. New Haven and London, Yale University Press. ------------------1986, “Octatonic pitch structure in Stravinsky.” Confronting Stravinsky, Berkeley: U. California, pp. 130-156. ------------------1988, “Stravinsky re-barred.” Music Analysis, 7/2, pp. 165-195. ------------------1992, Stravinsky: Reflections on context and analytical method. ------------------1998, “Metrical displacement in Stravinsky.” Mitteilungen der Paul Sacher Stiftung 11, pp. 24-28. ------------------2003, “Colloquy: Stravinsky and the octatonic--The sounds of Stravinsky.” Music theory spectrum: The journal of the Society for Music Theory, 25/1, pp. 167-202. Waggoner, Andrew Brock, 1986, Aspects of a language: Structural continuity in the late symphonies of Stravinsky, DMA doc., Music: Cornell U., 79 p. Walsh, Stephen. “Stravinsky.” The New Grove Dictionary of Music and Musicians, 2nd ed. Stanley Sadie and John Tyrrell, eds. New York: Grove, 2001. Whittall, Arnold. “Neo-classicism.” The New Grove Dictionary of Music and Musicians, 2nd ed. Stanley Sadie and John Tyrrell, eds. New York: Grove, 2001. Zur, Menachem, 1982, “Tonal ambiguities as a constructive force in the language of Stravinsky.” Musical Quarterly 68, pp. 516-526. | |
| dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/35070 | - |
| dc.description.abstract | 根據本論文的分析發現，長達三十年的史特拉汶斯基(Igor Stravinsky, 1882-1971)之新古典主義時期(Neoclassicism)在其風格形成的過程當中其實是有其階段性可循的，大體可分為風格的試探、風格的成熟以及風格的融合三個部分，而這三個部分大致上以十年為間隔作為風格轉化的分隔點，故筆者將史特拉汶斯基的新古典主義時期進一步細分為三個階段，分別是1920-30年的試探期、1930-40年的成熟期以及1940-50年的融合期。
本篇論文在研究方法上，欲以線性素材發展手法來看史特拉汶斯基新古典主義時期的創作歷程，而筆者分析線性素材的方式，主要是以 “線性發展單元”、 “斷裂/接續性”、 “聲部關係”等三大分析角度去觀察整個新古典主義時期的風格發展脈絡。 透過三大分析角度，本論文例證了新古典主義時期存有歷時性的線性發展歷程，並且此一線性發展歷程中以 “單一化”、 “有機化”、 “集中化”為其發展上的主要趨向。此一分析結果顯示史特拉汶斯基的新古典主義時期是有其歷時性的前進性與目的性的，一定程度地反駁了音樂學家阿多諾(Theodor W. Adorno, 1903-1969)批評史特拉汶斯基的新古典主義時期為歷史倒退的說法。 | zh_TW |
| dc.description.abstract | According to the analysis of the thesis，Stravinsky’s thirty-year neoclassic period can be further divided into three different phases, which is in turn “the exploring phase” for 1920-30, “the maturing phase” for 1930-40, and “the integrating phase” for 1940-50.
The main analytical method of the research is trying to use linear materials to find out the process of Stravinsky’s composition. The analytical view of the linear materials can also be divided into three different perspectives, which is linear developmental unit, discontinuity/continuity, and the relationship between voices. Through the research, the thesis has illustrated that there is a lasting developmental progression in Stravinsky’s neoclassic period, and the progression has the tendency of singularization, organization and centralization. This conclusion has also controverted Adorno’s criticism about Stravinsky, who suggested that Stravinsky’s neoclassic period is a period of regression. | en |
| dc.description.provenance | Made available in DSpace on 2021-06-13T06:40:10Z (GMT). No. of bitstreams: 1 ntu-94-R90144007-1.pdf: 38236841 bytes, checksum: 8920f6fce8b27fd3d20785325a9f82c6 (MD5) Previous issue date: 2005 | en |
| dc.description.tableofcontents | 第一章 緒論..............................................10
1.1 研究動機與目的...................................10 1.2 研究對象與範圍...................................13 1.2.1 史特拉汶斯基之新古典主義時期 (1920-1950)...13 1.2.2 史特拉汶斯基新古典主義時期之純器樂作品.....16 1.3 研究方法.........................................19 1.4 文獻回顧.........................................20 第二章 史特拉汶斯基新古典主義時期的整體創作手法及特色....27 2.1 線性發展單元(linear developmental unit)..........27 2.2 斷裂/接續性(discontinuity/continuity)............40 2.3 聲部關係(the relationship between voices)........61 2.4 小結.............................................67 第三章 新古典風格之試探期-1920’s........................68 3.1 線性發展單元.....................................68 3.2 斷裂/接續性......................................86 3.3 聲部關係........................................102 3.4 試探期之其他大型器樂作品........................108 3.5 試探期與俄羅斯時期的比較........................109 3.5.1 線性發展單元的比較........................109 3.5.2 斷裂/接續性的比較.........................112 3.5.3 聲部關係的比較............................116 3.6 小結............................................118 第四章 新古典風格之成熟期-1930’s.......................119 4.1 線性發展單元....................................119 4.2 斷裂/接續性.....................................126 4.3 聲部關係........................................128 4.4 小結............................................132 第五章 新古典風格之融合期-1940’s.......................133 5.1 線性發展單元....................................133 5.2 斷裂/接續性.....................................154 5.3 聲部關係........................................155 5.4 融合期的其他大型器樂作品........................156 5.5 融合期與其他時期的比較..........................158 5.5.1 線性發展單元..............................158 5.5.1.1融合期與俄羅斯時期在線性發展單元的比較158 5.5.1.2 融合期與試探期在線性發展單元的比較....159 5.5.1.3 融合期與成熟期在線性發展單元的比較....160 5.5.2 斷裂/接續性...............................161 5.5.2.1 融合期與俄羅斯時期在斷裂/接續性的比較.161 5.5.2.2 融合期與試探期在斷裂/接續性的比較.....162 5.5.2.3 融合期與成熟期在斷裂/接續性的比較.....163 5.5.3 聲部關係..................................164 5.5.3.1 融合期與俄羅斯時期在聲部關係的比較....164 5.5.3.2 融合期與試探期在聲部關係的比較........169 5.5.3.3 融合期與成熟期在聲部關係的比較........170 5.6 小結............................................172 第六章 結論.............................................173 參考書目................................................176 | |
| dc.language.iso | zh-TW | |
| dc.title | 史特拉汶斯基新古典主義時期之創作發展歷程
-----中大型器樂作品中的線性手法 | zh_TW |
| dc.title | The Process of composition in Stravinsky's neoclassical period-----The linear methods in medium or large pieces | en |
| dc.type | Thesis | |
| dc.date.schoolyear | 93-2 | |
| dc.description.degree | 碩士 | |
| dc.contributor.oralexamcommittee | 楊建章,嚴福榮 | |
| dc.subject.keyword | 史特拉汶斯基,新古典主義時期,試探期,成熟期,融合期,俄羅斯時期,線性發展單元,斷裂/接續性,聲部關係。, | zh_TW |
| dc.subject.keyword | Stravinsky,neoclassic period,the exploring time,the maturing time,the integrating time,Russian period,linear developmental unit,discontinuity/continuity,the relationship between voices., | en |
| dc.relation.page | 179 | |
| dc.rights.note | 有償授權 | |
| dc.date.accepted | 2005-08-01 | |
| 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 | |
文件中的檔案：
| 檔案 | 大小 | 格式 | |
|---|---|---|---|
| ntu-94-1.pdf 目前未授權公開取用 | 37.34 MB | Adobe PDF |
系統中的文件，除了特別指名其著作權條款之外，均受到著作權保護，並且保留所有的權利。