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库塔克·杰尔基(Kurtág Gyrgy,1926-)作为当代匈牙利最重要的作曲家,其作品近年来日渐被相关人士加以重视。在带有上世纪韦伯恩风潮弥漫下的简约类型中,库塔克在他偏爱的短小结构音乐体裁中融入了极具个性的自我烙印。本文择取了两部库塔克的室内乐作品《为小提琴与钦巴龙而作》(Nyolc Duos Op.4)和《为单簧管与钦巴龙而作》(Three Pieces Op.38),分别创作于其早期与中后期,而这两部作品又有着相关联系,即,均涉及了钦巴龙(cimbalom)的写作体裁,对二者的比较分析既可以从中窥见库塔克室内乐写作的音高结构特征又可观察到库塔克对本民族乐器的室内乐写作之运用特点。
Kurtág Gyrgy (1926-) As the most important composer in contemporary Hungary, his work has been paid more and more attention by relevant people in recent years. In the minimalist genre that populated Webern during the last century, Kutak incorporated a highly individualized self-stigma in his favorite short structural music genre. In this paper, two works of Kotak’s chamber music, “Composition for Violin and Chimbobas” (Nyolc Duos Op. 4) and “Three Pieces Op. 38 for Clarinet and Chinalco” Created in its early and middle-late period, these two works are related to each other, that is, all relate to the genre of Cimbalom’s writing. The comparative analysis of the two can not only give a glimpse of Cootal’s writing Pitch structural features can be observed in Kutako folk instruments of the use of chamber music writing features.