从终止式看文艺复兴时期作品中的对位思维运用  

The use of contrapuntal thinking in Renaissance works from cadence form

作　　者：王阿西 Wang Axi

机构地区：[1]中央音乐学院

出　　处：《乐府新声（沈阳音乐学院学报）》2023年第3期84-94,共11页The New Voice of Yue-Fu(Journal of the Shenyang Conservatory of Music)

摘　　要：终止式的演进过程一定程度上反映了不同时期和声功能体系的建构形态。在面对现代和声学建立之前的作品时,我们很容易惯性地去运用现代和声思维分析作品。但是,西方音乐史上的每一个断代,都有与之相对应的音乐语言和语境。在拉莫^([1])建立现代纵向和声学之前,文艺复兴时期的创作实际上是遵循横向的线性对位思维来构建作品的,而非现代的纵向和声思维。本文通过对文艺复兴时期终止式类型的演变过程和其基本原理的梳理,进而以帕莱斯特里那的第四卷经文歌作品《愿他吻我》(Osculetur me,1587)作为主要分析载体,同时以阿卡代尔特(Jacques Arcadelt,1507—1568)的无伴奏四声部牧歌《白色和甜美的雪茄》(Il bianco e dolce cigno,1539)的分析为辅,试图从终止式角度展现出横向对位思维在他们作品中的应用过程,以期能为文艺复兴时期的作品提供一种新的分析视角。The evolution of the cadence form reflects the construction form of the harmony function system in different periods to some extent.In the face of modern and pre-acoustic works,we are easy to habitually use modern harmonic thinking to analyze works.However,every period in the history of Western music has its corresponding musical language and context.Before Jean Philippe Rameau established modern vertical and acoustic,Renaissance compositions were actually constructed with horizontal linear counterpoint thinking rather than the modern vertical harmonic thinking.This paper reviews the evolution of the Renaissance cadence genre and its basic principles,and then uses the fourth volume of G.Palestrina's Motet,Osculetur me(1587),as the main analysis example,and Jacques Arcadelt's four-voice madrigal pastoral II bianco e dolce cigno(1539),attempts to show the process of the application of horizontal contrapuntal thinking in their works from the perspective of cadence,with a view to providing a new analytical perspective for Renaissance musical works.

关 键 词：终止式 文艺复兴 对位思维 帕莱斯特里那 《愿他吻我》 

分 类 号：J609.1[艺术—音乐]