十二平均律音高探索的“终结”?--谈“音级集合”理论的贡献与局限  

The“Ending” of the Pitch Exploration of the Twelve Tone Equal Temperanment?--The Contribution and Limitations of the Pitch-Classset Theory

作　　者：谢嘉幸[1] 张烁[2] Xie Jiaxing;Zhang Shuo

机构地区：[1]中国音乐学院,北京100101 [2]北京教育学院音乐系,北京100005

出　　处：《北方音乐》2023年第3期70-75,共6页Journal of the Northern Music

摘　　要：音级集合(pitch-classset)在20世纪音乐分析理论中占有重要地位,作为音乐深层结构的音高组织要素,在非调性音乐中,其结构的框架作用显得非常重要,而在无调性音乐中更是成为具有独立结构力的要素。因而,阿伦·福特的音级集合理论,无论对当代音乐创作领域还是音乐分析领域都有着不可忽视的意义。文章从历史角度着眼,对福特的理论作出现实意义的评价。在此基础上,提出了“终结”的概念。这里,“终结”指那种将十二平均律音高体系作为音乐分析与创作唯一原理和圭臬的思维方式的终结。Pitch-classset is a new concept of music analysis theory in the 2Oth century.As an under-lying structural pitch element,it exists in all kinds of music.Especially,pitch-classset play as an obvious structural role in modern non-tonal music gradually.It even becomes an independent struc-tural element in non-sequential atonal music.Therefore,the Forte's pitch-classset theory is of great signicance to both music composition and music analysis.Based on the evaluation of Forte's theory upon the historical view,which aim to present its innovations and limitations,the article proposed the concept of“Ending”.The“Ending”does not refer to the end of the twelve-tone pitch system for all kinds of analysis and composition,nor the 12 chromatic-tones techniques,but rather to the way of thinking that takes the equal temperament system as the only principle and guideline.

关 键 词：阿伦·福特 十二平均律 音级集合 终结 

分 类 号：J61[艺术—音乐]