论现当代音乐创作中的单声部复调思维及技法类型——由两种同源技法的智性、联系而引申  

Conception of Monophonic Polyphony and Categories of Techniques among Contemporary Music——Intelligence,Communication and Extension ofTwoTechniques fromSameOrigin

作　　者：王馨密 WANG Xinmi

机构地区：[1]苏州科技大学音乐学院,苏州215000

出　　处：《黄钟（武汉音乐学院学报）》2020年第3期82-91,166,共11页Huangzhong:Journal of Wuhan Conservatory of Music

摘　　要：单声(部)复调既是一种起源可溯的复调技法,又可称为一类作曲手法或思维,在20世纪现当代音乐创作中大放异彩。单声部思维以多声部呈现是单声复调的主旨,需要的是单旋律原型的凝练;而单声部复调虽与单声复调同源,但前者是后者的反向思维,即多声部思维以单声部呈现,其要点在于多(双)线性的强对比。文章在音乐作品创作中所产生的单声部与多声部思维的关系、矛盾和融合方面做出了一定程度上的解释,并以20世纪作曲家贝里奥、拉赫曼等人的经典单声部作品为例,论述其中所隐含的复调思维,在概念、技法层面和类型等方面进行较为详细的归纳和总结。Monophonic polyphony as a sourced thought of composing form,was remarkably conspicuous among contemporary music composition in 20th century.The main idea of monophonic polyphony is the polyphonic presentation by the conception of single parts,which concentrated from the prototype of the single melodies.Even monophonic polyphony and its single part based on the same prototype,their thinking directions are reversed.In another word,this presentation of the single parts must focus on the contrast among duo or multi lines.This paper tries to explain the communication,contradiction and fusion of single and multiple parts during the progress of composition,and summarizes and generalizes the concept,technique and categories of the implicit polyphonic conception,from monophonic works by Luciano Berio and Helmut Lachenmann.

关 键 词：单(多)声部思维 声部呈现 多(双)线性 强对比 技法类型 

分 类 号：J614.2[艺术—音乐]