雷格尔主调音乐中的线性运动  

The Linear Motion in Reger's Homophonic Music

作　　者：李冬[1] 

机构地区：[1]中央音乐学院作曲系

出　　处：《乐府新声（沈阳音乐学院学报）》2015年第2期13-17,共5页The New Voice of Yue-Fu(Journal of the Shenyang Conservatory of Music)

摘　　要：德国作曲家马克思·雷格尔被誉为"半音复音音乐"的完成者,同时他又是一位和声大师。他将瓦格纳在半音化和声方面的成就应用在绝对音乐,并在当时引起了革命性运动,但其一生的作品又从未逾越调性之藩篱。那作为调性音乐作曲家,他如何以高度半音化为载体呈示调性的呢?这便是线性思维发挥了主导作用,对位化与非对位化的声部进行齐驱并驾地在功能和声框架下勾勒线条。笔者拟从声部进行运动与动机纵和化两个方面阐述雷格尔游离在调性与无调性边缘的写作方式,引申出线性运动作为和声思维与复调音乐传统本能上的调和。German composer Max Reger, a harmony master, was honored as the completer of ＂semi polyphonic music＂. He applied Wagner＇s chromatic harmony achievements into absolute music and caused a revolutionary movement at that time. His works,however, never overstepped the barriers of tonality. As a tonal music composer,how did he show the tonality by using highly chromatic harmony as a carrier？ The answer is the leading role of linear thinking. Under the frame of functional harmony, he drew music lines by means of contrapuntal and non-contrapuntal parts.From the two aspects of part progression movement and motive vertical approach,the author of this article discusses Reger＇s writing method which is around tonal and atonal boundaries.

关 键 词：雷格尔 主调音乐 声部进行 线性动机 对位 

分 类 号：J614.5[艺术—音乐]