后调性对位的表象与本质  

Appearance and Essence of Post-tonal Counterpoint

作　　者：龚华华[1] Gong Huahua

机构地区：[1]武汉音乐学院作曲系,武汉430000

出　　处：《音乐艺术（上海音乐学院学报）》2024年第2期162-177,共16页Art of Music(Journal of the Shanghai Conservatory of Music)

基　　金：2021年国家社科基金艺术学重大项目“中国特色作曲理论体系研究”,项目批准号:21ZD17。

摘　　要：“后调性音乐”泛指一切非功能调性的音乐。其对位的表现与本质主要体现在横向时间维度与纵向空间维度两个层面,特别是线条、织体、音乐元素、音色音响、逻辑程序等方面。梳理和总结后调性对位的相关形态与技法,并通过对比和关联分析,深入探讨后调性对位与传统对位在表象与本质上的区别与趋同。The term"post-tonality music"refers to all music of non-functional tonality.The expression and essence of its counterpoint are mainly reflected in the horizontal time dimension and the vertical space dimension,especially in the line,texture,musical elements,timbre and sound,logical procedures and so on.This paper summarizes the related forms and techniques of post-tonal counterpoint,and through comparison and correlation analysis,probes into the differences and similarities between post-tonal counterpoint and traditional counterpoint in appearance and essence.

关 键 词：后调性 对位 线条 音乐元素 逻辑程序 结构对位 

分 类 号：J614.2[艺术—音乐]