被湮没的“语言”:罗斯拉维茨《三首作品》的音列关系及音高结构  

The Neglected“Language”:The Relationship of Tone Sequence and Pitch Structure in Roslavets’Three Compositions

作　　者：郭建光 Guo Jianguang

机构地区：[1]中南林业科技大学音乐学院,长沙410004

出　　处：《北方音乐》2023年第1期41-56,共16页Journal of the Northern Music

摘　　要：俄罗斯作曲家罗斯拉维茨,由于政治因素,其在音乐上所做的探索和成就鲜为人知。他的《三首作品》(1914)是其采用中心音列技术进行创作的早期作品,分别采用三组具有同宗关系的中心音列组织全曲音高。文章基于相关史料背景的基础上,通过对作品整体的音高组织逻辑关系及结构布局的研究,旨在解读中心音列的结构力和凝聚力及其在作品中的具体运用,并揭示此技术在音高组织发展进程中承前启后的深远意义。The Russian composer Roslavets at the turn of the century,because of the political factors,his musical exploration and achievements are little known.Three compositions(1914)was his early work composed by using the technique of central tone sequence,which used three groups of central tone sequence with the same family relationship to organize the pitch of the whole piece.Based on the background of relevant historical materials,this paper studies the logical relationship and structural layout of the overall pitch organization of the work,aiming to interpret the structural force and cohesion of the central tone sequence and its specific application in the work,and reveal the profound significance of this technology in the development process of pitch organization.

关 键 词：尼古拉·安德烈耶维奇·罗斯拉维茨(Nikolai Andreevich Roslavets 1881-1944) 《三首作品》 中心音列 音高结构 移位 

分 类 号：J614[艺术—音乐]