当代中国音乐中的斐波那契数列节奏化研究  

A Study on the Rhythm of Fibonacci Sequence in Contemporary Chinese Music

作　　者：曾凯强 Zeng Kaiqiang(Nanjing University of the Arts,Nanjing 210013)

机构地区：[1]南京艺术学院,南京210013

出　　处：《新疆艺术学院学报》2023年第1期14-20,共7页Journal of Xinjiang Arts University

基　　金：南京艺术学院2022年校级研究生科研与实践创新计划项目“理性的想象——中国作曲家对斐波那契数列节奏化的运用特征”(项目编号:XJKY22-002)研究成果。

摘　　要：斐波那契数列常见于当代中国音乐的艺术创作中,它常以不同的“递归”形式被作曲家在音乐的节奏形态中灵活运用,例如基于节奏时值的递增递减、数列的多样化轮转、数列的变体化派生以及数列的对位。斐波那契数列被中国作曲家以融会贯通的方式表现,呈现了理性与知觉融合的艺术表达。Fibonacci sequence is commonly seen in the artistic creation of contemporary Chinese music. It is often used flexibly by composers in different "recursive" forms in the rhythmic form of music, for example, the increase and decrease based on the time value of rhythm, the diversified rotation of the sequence, the variation of the sequence and the counterpoint of the sequence. The Fibonacci sequence is represented by Chinese composers in a comprehensive way based on good mastery, which presents an artistic expression characterized by the integration of rationality and perception.

关 键 词：中国作曲家 斐波那契数列 节奏形态 

分 类 号：J605[艺术—音乐]