摘要
幻想曲是以相对自由灵活的结构,不固定的外在形式及充分发挥创作才能和想象,贴近作品具体内容为特征的。在实际创作中,幻想曲作品的具体结构往往同时包含多个结构原则的共同作用,有时则包含对某些结构原则的刻意违悖。可以说采取的是一些“边缘”性的曲式。探索边缘性曲式在幻想曲作品中的实践,使我们得以接近作曲家们处理内容与形式之间,典型与具体之间的矛盾和发展乐思,施展创作才能的真相,同时也期望通过这种探索为进一步理解幻想曲作品及边缘曲式结构提供依据和帮助。
The characteristics of fantasia are of relatively free and vivid construction, without fixed outside forms, with full development of artistic talent and imagination and close to the contents of the work. In actual creations, the concrete construction of a fantasia often includes the common function of several construction principles, and sometimes it disobeys the construction principles intentionally. So we can say that fantasias adopt some ＂borderline＂ music form. Investigating the practice of borderline music form in the work of a fantasia, we could be close to the reality in which composers deal with the contradictions between the contents and the forms, the type and the concretion, and develop music thinking and display creative ability. Through this investigation we also expect to provide basis and help for further comprehending fantasia work and borderline music form.
出处
《贵州大学学报（艺术版）》
2006年第1期42-45,49,共5页
Journal of Guizhou University Art Edition
关键词
边缘曲式
幻想曲
三部性结构原则
回旋性原则
奏鸣性原则
borderline music form
fantasia
convolute structure
rule of trilogy structure
rule of sonata structure
