音块技术与数控思维在中国当代音乐创作中的初步实践——以何训田《梦四则》及其RD作曲法为例  

Preliminary Practices of Tone Cluster and Series Control Thinking in Chinese Contemporary Musical Composition——Taking He Xuntian’s Four Dreams and His RD Method of Musical Composition as an Example

作　　者：刘鹏 Liu Peng

机构地区：[1]中央音乐学院音乐学研究所 [2]四川音乐学院作曲系,成都610021

出　　处：《北方音乐》2023年第4期39-50,共12页Journal of the Northern Music

基　　金：2022年度教育部人文社会科学研究青年基金项目“音乐姿态的理论阐释与表演实践研究”(项目批准号:22YJC760060)阶段性成果。

摘　　要：《梦四则》是何训田的早期代表作之一。作曲家有意识地在“梦”的意象中沉思,于四种梦境及“非连续性”特征,作音乐性转化,利用半音化音高组织与自创RD作曲法中的对应原则加以整合,该作品借西方音响音乐的体式,寻求突破的个性创作轨迹。文章对作品的音高材料构成、音响形态变化、数控对应表现与曲式结构特征,作详细分析,以此阐述作曲家是如何吸纳西方音块音响化组织思维,结合自身创作手法与思想,作出新的音响,并追求体现“中国方案”。Four Dreams is one of He Xuntian’s early masterpieces and which as an exploratory work of orchestral music in the Chinese new period.Based on the consciously meditation on the imagery of dream,the composer transformed the four dream states’s and discontinuous features into music by using chromatic pitch organization and the correspondence principle of the self-created RD Method of Musical Composition.The composer borrowed the style of Western acoustic music and sought a breakthrough in its individual creative trajectory.Upon the analysis of the pitch materials,acoustic patterns changes,correspondence appearance of series control and structural features of the work,the artilcle elaborated the composer’s experience in absorbing the Western tone cluster and acoustic organization ideas and his contribution in Chinese Proposal for the pursuit of new acoustic possibilities that in a particular period of history by combining with his own compositional concepts and techniques.

关 键 词：何训田 《梦四则》 音响形态 对应法 数列控制 渐进式结构 

分 类 号：J61[艺术—音乐]