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赋格,这种历来为作曲家所推崇被公认为最能体现对位思维特征的音乐体裁,至今仍焕发蓬勃的生命力。从巴洛克时期到近现代时期,作曲家们为后世留下了不少刻有时代印记赋格套曲集。那么,20世纪赋格曲创作中必将在观念、技法、风格等诸多方面产生变化。其中,爵士赋格曲势必会带来焕然一新的新风貌。因此,本文通过对美国当代作曲家亨利·马丁《二十四首前奏曲与赋格》上册中第三首爵士赋格曲的研究,探询爵士乐在赋格体裁之中的音乐创作。
Fugue, the genre of music that has long been praised by composers as being most likely to embody the characteristics of paraphrasing, still rejuvenates. From the Baroque period to the modern period, the composers left a lot of engraved ensembles for the later generations engraved with the times. Then, in the 20th century, the composition of fugue is bound to change in many aspects such as concept, technique and style. Among them, the jazz fugue is bound to bring a new look fresh. Therefore, through the study of the third Jazz Fugue in the first volume of “The 24 Preludes and Fugues” by the contemporary American composer Henry Martin, this article probes into the jazz music creation in the fugitive genre.