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十二音体系这是西方现代音乐中的一种创作方法。1908年起,一个叫哈乌艾尔(1883—1959)的音乐家首先提出半音阶可以产生419.001.600个变体的理论,并作过不少试验。1923年前后,勋伯格则全面系统地运用了十二音作曲技巧。这种技巧,将音阶中的十二个半音同等对待,没有主音、倾向音对于调式、调性的功能关系,亦即无调性。它们任意排成音列,以原型、逆行、倒影、逆行倒影等四种样式加以变化,这十二个音全部出现之前,任何一音不得重复(八度移位除外),音列中任何相连的三个音不得形成大、小三和弦的格式。十二音技法由威伯恩进一步发展为更复杂、更精细,近乎数学演算的“序列音乐”。他全面运用了音高、力度、发音法、音色等序列技术进行创作,并将卡农(复调技巧的一种形式)线条分布在不同的音区和乐器上,使人难以捉摸音调的走向,晚年编制的乐谱,通篇是被休止符隔断的短促音或小音组,正象一幅“点描派”绘画,成为“点描音乐”的先声。后来,法国的麦西安则进一步发展了这种“序列主义”。
Twelve Tone System This is a method of creation in modern Western music. Since 1908, a musician named Ha Uair (1883-1959) first proposed the theory that the chromatic scale produces 419.001.600 variants and has done many experiments. Around 1923, Schoenberg used the twelve-tone composition technique systematically and systematically. This technique, the equalization of the twelve semitones of the scale, there is no tonic, propensity tone for modulation, tonality of the functional relationship, that is, no tonality. They are arbitrarily arranged in a sequence of tones that are varied in four different styles: Prototype, Retrograde, Inverted, Inverted, etc. Before any of these twelve sounds appear, no repetition of any tone (except octave shifts), any connection in the sequence The three tones can not form a large, small three chord format. The Twelve Tone technique was further developed by Weibnin into a more sophisticated, more elaborate, near-mathematical “sequence music.” He made full use of sequence techniques such as pitch, intensity, phonetic transcription and timbre, and distributed Cannon (a form of polyphonic technique) on different sound zones and musical instruments, making the direction of elusive tunes, Music scores compiled in old age, through the rest of the break is a short sound or small sound group, just as a “point description” painting, a “point music” prelude. Later, Maccissan of France further developed this “sequenceism.”