梅西安色彩和弦的理论与应用  

The Theory and Application of Messiaen's Invented Chords

作　　者：王中余[1] 石坚 Wang Zhongyu;Shi Jian

机构地区：[1]上海音乐学院音乐艺术研究院,上海200031 [2]上海音乐学院,上海200031

出　　处：《音乐探索》2022年第4期63-75,共13页Explorations in Music

基　　金：2018年国家社科基金艺术学项目“西方现当代音乐分析体系与方法研究”(18BD055);2019年上海市浦江人才计划项目“曲式前沿理论研究”(19PJC095);2022年上海音乐学院博士研究生科研项目“梅西安色彩和弦研究”(SHCMDP202205)。

摘　　要：以往有关梅西安色彩和弦的研究主要是对色彩和弦进行梳理并作纵向结构上的分析,但对其在横向上与调式关系的研究则不多见,或只说明了梅西安创作前期常用的4种色彩和弦与某一调式的关系。在前人研究的基础上,通过对9种色彩和弦的结构梳理,解析梅西安创作后期常用的5种色彩和弦在横向上与有限移位调式的关系,并结合这9种色彩和弦在其作品中的实际应用,论述其结构的异同之处。Messiaen's invented Chords have been discussed by many scholars like Yang Liqing,Zheng Zhong and Cheong Wai-Ling.Their analyses are more focused on structure of the chords rather than the relation between the chords and modes of limited transposition,or just illustrate the relation between Messiaen's four frequently used chords in his earlier compositions and a certain mode of limited transposition.Through studying the structures of Messiaen's nine invented chord,the article expounds on how five of the invented chords which were frequently used in his later works are related with modes of limited transposition.And the article also illustrates how the chords'structures vary based on the investigation of the practical uses of the nine Messiaen's invented chords in his works.

关 键 词：梅西安 色彩和弦 有限移位调式 理论 应用 

分 类 号：J614[艺术—音乐]