从“音级集合”到“五声性音级集合”——阿伦·福特与罗忠镕的隔空对话  

From "Pitches-Class Sets" to "Pentatonic Pitches-Class Sets"

作　　者：姜蕾[1] 

机构地区：[1]华东师范大学音乐系

出　　处：《黄钟（武汉音乐学院学报）》2014年第4期86-97,共12页Huangzhong:Journal of Wuhan Conservatory of Music

基　　金："教育部人文社会科学研究青年基金项目"(项目编号:12YJC760033);"2012上海市浦江人才计划资助项目"成果

摘　　要：音级集合是阿伦·福特于上世纪60年代提出的重要音乐理论,在西方现代音乐分析历史上具有广泛而深远的影响力,与申克分析被并称为20世纪最经典的两大分析体系。上世纪80年代,音级集合传入中国,作曲家罗忠镕先生率先在创作中运用,并在实践中不断深化和拓展,提出了"组合与互补的五声性音级集合"的新观点。该文从"音级集合"到"五声性音级集合"的理论阐释、五声性集合在罗忠镕《弦乐四重奏》中的运用两个部分论述集合理论的"中国化"过程及其延续性价值。Pitch-class-set was an important musical set theory proposed by Allen Forte in 1960s, with ex- tensive and far-reaching influence in the history of modem music analysis in the West, it and Schenkerian a- nalysis were referred to as two classical analysis systems of 20th century. Pitch-class-set was introduced into China in the 1980s, Luo Zhongrong was the first one of Chinese composers to use it in the creation, and with practicing constantly to deepening and expanding, he proposed the new ideas of “Pentatonic pitches-class sets of complementary and combined type”. With the theoretical explanation that from “ pitches-class sets” to “ pentatonic pitches-class sets” and the pentatonic pitches-class sets used in Luo Zhongrong＇s String Quartet, this paper discussed the process of “sinicize” music set theory with its continuity value.

关 键 词：音级集合 五声性音级集合 十二音序列 截段 互补型与组合型 

分 类 号：J614.1[艺术—音乐]