数理比例技术在文艺复兴时代的延续--以邓斯泰布尔的等节奏经文歌创作为例  

On continuation of Musical Mathematical proportion technology in the Renaissance period

作　　者：宋戚 Song Qi

机构地区：[1]首都师范大学音乐学院

出　　处：《乐府新声（沈阳音乐学院学报）》2020年第3期32-42,共11页The New Voice of Yue-Fu(Journal of the Shenyang Conservatory of Music)

基　　金：2019年度教育部人文社会科学研究青年基金项目《西方早期音乐中数理比例创作技术的衍变及当代实践研究》(19YJC760088)阶段性成果。

摘　　要：文艺复兴初期英国作曲家约翰·邓斯泰布尔的12首等节奏经文歌,无疑是15世纪初欧洲等节奏经文歌体裁的经典代表。等节奏经文歌可谓中世纪时期音乐创作手法最具智性和理性的音乐体裁。邓斯泰布尔的等节奏经文歌创作,不仅巩固了传统的等节奏范式结构,同时,他还在传统等节奏结构的基础上,以新的对位形式摆脱了传统技法的束缚。以此,等节奏技术则成为邓氏赋予经文歌体裁以多元"结构力"要素的重要载体。本文重在论述邓氏等节奏经文歌低音固定声部的等节奏结构特点,以及固定节奏、固定旋律与重复的相应曲体部分之间所具有的数理比例逻辑发展关系。At the beginning of the Renaissance,John Dunstable,a British composer,composed 12 isorhy thm motets,which are undoubtedly the classical representative of European musical genre in the early 15th century.Isorhythm motets are the most intelligent and rational musical styles in the Middle Ages.Dunstable's isorhythm motets not only strengthen the traditional isorhythm paradigm structure,but also broke away from the bondage of traditional techniques with a new counterpoint form on the basis of the traditional isorhythm structure.Therefore,the rhythm technique has become an important carrier for Dunstable to endow the genre of isorhythm motets with multiple"structural forces".This paper focuses on the characteristics of the isorhythm structure of the Tale of Dunstable's isorhythm motets,as well as the development of mathematical proportion logic among Tale,Coler and the corresponding repetitive parts.

关 键 词：邓斯泰布尔 等节奏经文歌 数理比例 固定节奏 固定旋律 比例减缩 

分 类 号：J609[艺术—音乐]