继承与超越——《图画展览会》创作特征探索  

Inheritance and Transcendence ——Exploration of the creation of “Pictures at an Exhibition”

作　　者：陈馨婷[1] 

机构地区：[1]贵州大学音乐系,贵州贵阳550003

出　　处：《贵州大学学报（艺术版）》2004年第1期51-53,共3页Journal of Guizhou University Art Edition

摘　　要：钢琴组曲《图画展览会》由穆索尔斯基创作并以拉威尔改编的管弦乐版本广泛流传于世。立足这部伟大作品产生的独特时代和人文背景 ,通过对《图画展览会》在曲式结构、调式调性、和声、主题旋律及管弦乐版本的配器等方面的一些创作特点进行分析 ,探索其对于古典作曲原则的“继承”与“超越” ,及对于后世音乐艺术发展所具有的特殊而深远的意义。The piano suite “Pictures at an Exhibition” created by Kartinki Svystavki and the orchestral pieces adapted from it by Ravel Maurice are both widespread in the world. Based on the special era and cultural background in which this great work came into being, the author of this paper is trying to analyze the structure of the music form, the modes, the harmony, the subject melody, and the orchestration of the adapted edition of “Pictures at an Exhibition”, and is trying to explore the inheritance and transcendence of its rules of classical music writing and explore its specific and far-reaching significance in the development the art of music in the afterworld.

关 键 词：回旋性结构原则 动力性再现 非方整性结构 收拢性收束 三部性结构原则 中古调式 逆分型节奏动机 功能性和声 

分 类 号：J648.61[艺术—音乐]