符号学视域下沃尔夫冈·里姆《第三弦乐四重奏》的音乐表达  

The Musical Expression of Wolfgang Riem’s Third String Quartet from the Perspective of Semiotics

作　　者：李泽召 Li Zezhao

机构地区：[1]南京艺术学院音乐学院,江苏南京210013 [2]南京传媒学院,江苏南京211172

出　　处：《南京艺术学院学报（音乐与表演版）》2022年第3期94-100,I0004,共8页Journal of Nanjing Arts Institute:Music & Performance

基　　金：2021年江苏省研究生科研与实践创新计划项目(项目编号:KYCX21_1995)的阶段性成果。

摘　　要：符号学理论对音乐领域的渗透将音乐分析路径向综合化、多元化、整体化转换,使分析领域的二元对立思维得以缓和,引导音乐技法分析走向更加全面的音乐学分析,将技法样式和符号化隐喻、象征结合,以形成作品系统过程分析下的文本内涵的丝析发解。当代作曲家沃尔夫冈·里姆善于采用多元创作技法构建音乐叙事文本,作品中有着强烈的情感抒发。他1976年创作的《第三弦乐四重奏》是其室内乐作品的代表,在时间、空间、行动三个音乐生成维度中体现出对过往文本的隐喻以及对音乐生成过程的探索。该作品的音乐表达与音乐符号学的分析视角相契合,为音乐符号学理论应用于近现代音乐的分析提供了案例参考。The penetration of semiotic theory into the field of music undou btedly transforms the path of music analysis into integration,diversification,and integration,alleviates the dualistic opposition thinking in the field of analysis,guides the analysis of music techniques to a more comprehensive musicological analysis,and combines the style of techniques with symbolic meanings and symbols to form a detailed analysis of the text connotation under the systematic process analysis of works.This essay takes semiotics theory as a basic reference and makes the three dimensions of music generation,i.e.time,space and action in Eero Tarasti’s musical semiotics theory system as its base.The analysis of the third string quartet by the contemporary composer Wolfgang Riem explores the musical expression in Riem’s works,and at the same time ex plores the feasibility of applying the theory of music semiotics to the analysis of modern music.

关 键 词：符号学 沃尔夫冈·里姆 第三弦乐四重奏 音乐符号 模态分析 

分 类 号：J60[艺术—音乐]