布列兹《切口》中音名主题拆分与组合及结构逻辑探析  

An Exploration of the Splitting and Combining of the Theme upon the Pitch Name in Boulez's Incises and its Structural Logic

作　　者：姚子艺 杨和平[2] Yao Ziyi;Yang Heping

机构地区：[1]吉首大学音乐舞蹈学院,湖南吉首416000 [2]武汉音乐学院作曲系,武汉430060

出　　处：《北方音乐》2024年第1期121-130,共10页Journal of the Northern Music

摘　　要：皮埃尔·布列兹(Pierre Boulez)是整体序列主义的代表人物,他以大胆的创作理念和手法影响了西方现代音乐的发展。《切口》(Incises)是布列兹晚期作品,于1994年创作,1996年改写为室内乐作品《片段》(Sur Incises),2001年在此基础上创作了新的钢琴独奏《切口》。该作品采用萨赫尔音名主题六音作为核心材料,将音名主题拆分为两个三音集合,再将其移位、倒影、拼接等衍生出各种类型。同时,预设核心元素,形成独特的“马尔科夫链”,以此来构成作品独特的结构逻辑。Pierre Boulez, a representative of total serialism, influenced the development of Western modern music with his advanced compositional concepts and techniques. Incises, as his late output, was composed in 1994 and arranged as a chamber work Sur Incises in 1996, on which a new Incises was composed for solo piano in 2001. The work uses the pitch name theme ?E-A-C-B-E-D, which originated from Sacher's name, as its core material through split the theme into two three-note pitch class sets, and then derivate new types upon the shift, inversion and collage. As the result of presetting of the core elements, a unique “Markov chain” was established, and which constitutes the unique structural logic of the work.

关 键 词：布列兹 《切口》 萨赫尔音名主题 马尔科夫链 结构逻辑 

分 类 号：J609.3[艺术—音乐]