论巴托克《第五弦乐四重奏》第三乐章中的三度结构手法  

On the Third Structure in the Third Movement of the String Quartet No.5 by B.Bartok

作　　者：黄晓蓝[1] 

机构地区：[1]香港中文大学音乐系

出　　处：《黄钟（武汉音乐学院学报）》2005年第4期57-63,共7页Huangzhong:Journal of Wuhan Conservatory of Music

摘　　要：通过剖析巴托克在《第五弦乐四重奏》第三乐章中的核心动机,阐述其中重要的三度结构手法。“三度”作为第三乐章的最主要的结构元素,在整首乐曲中占据着核心地位。文章将立足于三度结构手法,分析巴托克如何从简单的三度关系建立起乐曲的核心动机,然后借助动机建立控制全曲的三种音高组合??七音音阶组合(diatonic collection)、八音音阶组合(octatonic collection)及十二音组合(twelve-tone collec-tion),再依靠不同音阶组合建立了段落结构,由小至大、由表及里,创作了这首弦乐四重奏的核心乐章。Through to take apart of kernel motive of the third movement in Bartok String Quartet No. 5, the papers introduced one of important methods the third structure. As the main structure element of the third movement, the Third held the kernel position of the whole work. Based on the method of the Third structure, the writer analyzed Bartok way to build up the work kernel motive from the simple relation of the third, then to establish three pitch combinations to control the whole piece., heptachord collection, octachord collection and the twelve-tone collection. The composer depended on the various scale set to make up the paragraphs structures, from little to big, from the outer to the inner, created the key movement of the string qutartet.

关 键 词：巴托克 《第五弦乐四重奏》 三度结构 八音音阶 多利亚调式 十二音 

分 类 号：J614.3[艺术—音乐]