勋伯格为何会走向“无调性”  

Why Schoenberg to the "Atonal"?

作　　者：袁利军[1] 

机构地区：[1]武汉音乐学院音乐学系

出　　处：《黄钟（武汉音乐学院学报）》2012年第3期97-114,共18页Huangzhong:Journal of Wuhan Conservatory of Music

基　　金：2011年湖北省教育厅中青年科研项目<二十世纪德奥序列音乐研究>的成果之一;项目编号:Q20112402

摘　　要：文章着重分析了20世纪初奥地利作曲家勋伯格个性中蕴涵的强烈的传统性、他对"调性"概念的独特理解、他生活的年代所面对的音乐时代境况以及他企图将音乐继续向前进展的使命感,进而对他走向无调性音乐的技术支持及可行性进行探讨。勋伯格一直不赞成别人称自己的音乐是"无调性"音乐,其实也是想说明他的"无调性"音乐同样也具备了功能调性音乐所具备的音乐组织中心和音级等级感两方面的元素,这一点在勋伯格后来创立的"12音作曲体系"中进一步得到了完善。The article focus on the analysis of the composer Schoenberg＇s personality of strong tradition, his unique comprehension of the ＂tonal＂ conception, the years of his life in the face of the music era situation, as well as his sense of mission to attempt to drive the music forward, further to explore the technique support and possibility to go to the atonal music. Schoenberg himself did not agree the others called his music as ＂aton- al＂ music, indeed he also want to explain his ＂atonal＂ music also had the elements both of the central of music organization and the sense of pitches hierarchical levels that had been possessed by the functional tonal music, and this point in further improved at Schoenberg＇s foundation of ＂system of composition with twelve notes＂.

关 键 词：勋伯格 调性 无调性 传统 音程思维 集合 

分 类 号：J614.9[艺术—音乐]