勋伯格音乐的音高组织与结构思维——以《勋伯格三首钢琴小品》(Op.11)第一首为例  

The pitch organization and structural thinking in Schoenberg's music——Take the first of “The Three Piano” pieces of Schoenberg as an example

作　　者：师占成 SHI zhancheng(Music Department of Inner Mongolian Arts University,Inner Mongolian Hohhot,01001)

机构地区：[1]内蒙古艺术学院,内蒙古呼和浩特010010

出　　处：《内蒙古艺术学院学报》2018年第3期101-112,共12页Journal of Inner Mongolia Arts University

基　　金："内蒙古自治区教育厅2017年科研课题"建国以来内蒙古手风琴音乐艺术发展调研报告"(项目编号:项目编号:NJSY17675)系列研究论文

摘　　要：勋伯格的《三首钢琴小品》(op.11)是一首无调性音乐作品,也是他从成熟的调性创作时期向无调性创作时期过渡的作品。该作品第一首虽具有自由无调性音乐的特点,但调性思维、三度结构的和弦、属七和弦的意义、主调与复调对位织体的形态等传统创作观念随处可见,但材料和音乐的发展过程又体现出不同于传统的结构观念。在结构过程中,音高材料与织体形态采用一种主题--动机的重复、变奏与发展并贯穿于整部作品的不同于传统功能调性体系的独特的结构力方法,来保证音乐陈述的连贯性,且塑造出一种不同的音响色彩。Schoenberg＇s ＂Three Piano Pieces＂ （OP.11） is an atonal music work, which worked from the mature tonal creation period to the atonal creation. Although the first song of the work has the characteristics of free atonal style, but the tonal thinking, the chord of the three-dimensional structure. The traditional creative concepts such as the meaning of the seven chords, the main tone and the polyphonic shape of the opposite texture can be seen everywhere, but the development process of materials and music reflects a different institutional concept. In the structure process, the pitch material and the texture form adopt a theme-motivation repetition, variation and development and a unique structural force method that is different from the traditional functional tonal system throughout the whole work to ensure the music statement. Coherence, and create a different sound color.

关 键 词：调性思维 结构思维 音高组织 

分 类 号：J60[艺术—音乐]