高为杰音乐作品中的支声技法研究  

Research on the Heterophony Techniques in Gao Weijie's Music Works

作　　者：俞卫娜 Yu Weina

机构地区：[1]南京艺术学院艺术学(音乐与舞蹈)博士后科研流动站

出　　处：《中国音乐》2025年第1期143-161,208,共20页Chinese Music

基　　金：2023年度教育部人文社会科学研究青年基金项目“新世纪中国筝乐创作探索与传播发展研究”(项目编号:23YJC760097)的阶段成果

摘　　要：在我国当代音乐创作中,作曲家对支声的运用,既继承传统又打破传统,也与现代作曲技法结合而衍生出“新型”支声技法。这种支声技法不仅体现在具体作品的运用上,而且对作曲家的创作理念也有塑造作用。如今,具有支声特点的作品在当代作曲家的创作中不在少数,而高为杰的支声运用尤为独特,既有基本的支声类型,也有支声性的综合织体。此外,作曲家高为杰亦将支声与他偏爱的或独创的技法紧密结合,使作品中的支声织体成为独一无二的现象。In the realm of Chinese contemporary music,composers often inherit and reinterpret tradition by incorporating heterophony,which is further integrated with modern compositional techniques.This fusion gives rise to what can be termed as"new"heterophony techniques.These techniques are not only evident in the application to specific works but also play a significant role in shaping the composer's creative concepts.In recent years,heterophony has become a recurring feature in contemporary compositions,with Gao Weijie's use of heterophony standing out for its distinctiveness.His works demonstrate the application of basic heterophonic types,as well as the techniques of splitting and combining heterophony.Furthermore,Gao integrates heterophony with his signature or innovative compositional methods,resulting in uniquely textured heterophonic layers in his music.

关 键 词：高为杰 “点”的支声 数控支声 同步式支声 音色点描式支声 

分 类 号：J614.5[艺术—音乐]