摘要
本论文研究了波兰作曲家亨里克·米科拉伊·古雷斯基（Henryk Miko aj Górecki，1933－2010）交响曲的技法特征、作曲思维、人文内涵及其相互之间的关系。
本论文从与作曲家相关的社会环境、文化背景、宗教思想、人生经历出发，研究其创作风格的转变及创作观念的成因。古雷斯基交响曲创作以其民族化音乐语言和多元化表达，将波兰民族音乐语汇、西欧传统与现代作曲技法及带有强烈个人印记的音乐陈述方式融入到创作中，形成了鲜明的古雷斯基个人音乐风格。尤其重要的是，其交响曲以宗教的话语和“母性”视角讲述战争和极权对人的摧残，从对作曲技法层面的关注上升到对波兰历史和人民，乃至全人类的关注，体现出强烈的历史使命感。
本文第一章为作曲家生平、创作分期及对三部交响曲的概述；第二、三、四章分别对《第一交响曲》、《第二交响曲》、《第三交响曲》的音高组织、和声特点以及配器布局等进行分析；第五章梳理其作曲思维的衍变；结语对古雷斯基交响曲的创作观念、个人风格及其构成要素与人文内涵的关系进行论述，由此总结出交响曲创作的四点经验及启示。
This dissertation analyzes the relationship between composition techniques,personal style and humanistic connotation in three symphonies by composer Henryk Mikoaj Górecki(1933-2010).
With the nationalistic music language and diversified expressions，Góreckiblended the Polish national music idea, western modern techniques and his strongindividualistic music statement into his compositions which formed his distinctive"Górecki-ism" musical style clearly. Above all, his works reflected his highlyattention to the significant historical events; he used religious language and thematernal perspective to describe vandalization of human beings. In addition, he notonly paid attention to the compositional style, but concerned more into history ofpoland, Polish nations and even to the entire mankind level which also presented hisstrong sense of historical mission. From the social environment, cultural background,religious thoughts and life experiences associated with Henryk Mikoaj Górecki, thisthesis researches his transformation of compositional style and the source of hiscreational music idea.
The First chapter of this research discusses composer's biography, compositionaltimeline and the outline of three symphonies. Chapter two, three and four analyzethe harmony figures, texture forms and orchestrations from symphony NO.1,2and3individually by using graphics and music examples. In chapter five concludescomposer’s composition development process; in conclusion, writer sums upcomposer's compositional style and musical elements by analyzing the musical ideaof three symphonies and his humanistic connotation in order to summarizes fourexperience and Inspiration of creation in symphony.
引文
1古雷斯基《第四交响曲》在本论文答辩前已于2014年4月12日在英国皇家节日音乐厅首演
2其他三位作曲家是帕努夫尼克（Panufnik），鲁托斯拉夫斯基，潘德列斯基
3艾德里安·托马斯（Adrian Thomas）英国卡迪夫大学音乐教授
4雷布尼克（Rybnik）：波兰南部城市。在卡托维兹西南35公里，属卡托维兹省
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8波兰现代音乐作曲家。1915年随鲁托斯拉夫斯基学习，后在华沙音乐学院随希曼诺夫斯基学习。以1950——1960年间序列音乐创作著称，对古雷斯基创作有较大影响
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12参见本论文第15页第二、三两段
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47高蒙(Gaumont)子公司
48Margaret Field作为女高音独唱（首次非Stefania Woytowicz担任该作品女高音的版本）
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51灯光、电影和包括录制好的古雷斯基《第三交响》在内声响组成的多媒体演出
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上图为《第二交响曲》第二乐章38——41小节，A主题末尾四小节。可以看出，五声性和
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