20世纪西方现代和声审美的现代性  

On the Aesthetic Modernity of Western Modern Harmony in Twentieth Century

作　　者：何宽钊[1] 

机构地区：[1]中央音乐学院音乐学系

出　　处：《黄钟（武汉音乐学院学报）》2014年第1期58-65,共8页Huangzhong:Journal of Wuhan Conservatory of Music

摘　　要：对大小调调性音乐的审美是一种静观、从容、沉思的细细品味,它笼罩着一层别具"灵韵"的光晕。"震惊"则是现代性独有的经验,它是一种新奇、迷茫、刺激而困惑的感受,这一点在20世纪西方和声中得到了体现。20世纪的和声摆脱了大小调调性和声的感性专制,获得了全新而丰富的感性内涵,形式上的超越功不可没。20世纪西方和声导致精英与大众的分化,这种不顾及大众、饱含自恋倾向的精英主义的形成与20世纪的音乐制度密切相关,同时,20世纪作曲家对平庸的反抗则是这种精英主义之所以产生更为内在的根由,形成所谓"有限的"生产场。To the aesthetic of tonal music in major and minor modes is a kind of taste with contemplation, calm, and meditative, which in the unique halos Of ＂spirit rhyme＂. The ＂shock＂ is an individual experience of modernity, which being a novelty, confused, exciting and confusing feelings, and this is embodied in the West- ern harmony in the twentieth century. The harmony of the twentieth century has broken away from the per- ceptual autocracy of tonal harmony in major and minor modes, and gained a new and rich emotional connota- tion, the transcendence of the form has made undeniable contributions. That the Western harmony of the twentieth century leads to differentiation of the elite and mass, and this regardless of the mass, full of narcis- sistic tendencies of formation of elitism is closely related to the musical system of twentieth century, and mean- while, that the composers of the twentieth century against mediocrity is the inherent reason why the elitism produced, forming the so-called ＂limited＂ field of production.

关 键 词：20世纪 现代和声 调性和声 形式主义 自动化 陌生化 精英主义 有限的生产场 大规模 的生产场 

分 类 号：J614.1[艺术—音乐]