后简约主义音乐的创作特征分析  

An Analysis of the Characteristics of Post-Minimalist Music Composing

作　　者：张兆宇 Zhang Zhaoyu(Inner Mongolia Normal University,Hohhot 010010)

机构地区：[1]内蒙古师范大学,呼和浩特010010

出　　处：《新疆艺术学院学报》2024年第4期10-14,共5页Journal of Xinjiang Arts University

摘　　要：简约主义音乐作为20世纪兴起的思潮,自其出现之始便迅速吸引了来自作曲家群体的关注,后成为众多现代时期作曲家所采用的一种创作风格,并延续至今。而后简约主义音乐在保持简约主义音乐对音乐材料重复性使用的基础上,又大范围地拓展了材料重复的变化性,为作曲家在音乐材料的发展方面开辟了新的道路。本文将通过对简约主义音乐、后简约主义音乐的产生与发展背景,以及几部有代表性的后简约主义音乐作品的分析,来说明后简约主义音乐与早期简约主义音乐在创作特征上的联系与区别,从而使读者能够对后简约主义音乐的创作特征有所了解。Minimalist music,as a rising trend in the 20th century,quickly attracted the attention of composers from the day it was born and later became a creative style adopted by many modern composers,which continues to this day.However,Post-Minimalist music massively expanded the variability of material repetition while maintaining the repetitive use of music materials in Minimalist music,and opened up new paths for composers in the development of music materials.This paper analyzes the context of the emergence and development of Minimalist music and Post-Minimalist music,as well as several representative Post-Minimalist music works,to illustrate the connection and differences in characteristics between Post-Minimalist music composing and early Minimalist music composing,so that readers can learn about the characteristics of Post-Minimalist music composing.

关 键 词：后简约主义 简约主义 现代音乐 相位 

分 类 号：J614[艺术—音乐]