斯克里亚宾《普罗米修斯》音响色彩研究  

A Studyon the Sound Colorin Scriabin's Prometheus

作　　者：闵讷 Min Ne

机构地区：[1]武汉音乐学院作曲系

出　　处：《中国音乐》2025年第1期176-192,共17页Chinese Music

摘　　要：色彩表现作为浪漫主义时期音乐风格中的一个重要维度,不仅牵涉到管弦乐配器的三大方面,即和声、音色-音响与织体形态,还承载着作曲家的创作内容与观念表达。斯克里亚宾在最后一部交响诗《普罗米修斯》中非常有意识地强调色彩因素,甚至将色彩通感作为音乐中的重要结构手段,具体通过主题材料、和声音组以及整体结构等元素的逻辑构建,让作品以象征的方式隐喻本体结构特征并阐发文本寓意,从而在形式与意义的相互契合中体现出音乐语言的深层次哲理内涵。Color representation,as a significant dimension in the musical style of the Romantic period,involves not only the three major aspects of orchestral instrumentation-harmony,timbresound,and texture formbut also carries the composer's creative content and conceptual expression.Scriabin,in his last symphonic poem Prometheus,consciously emphasizes the element of color,even employing synesthesia as an important structural device in music.This is achieved through the logical construction of thematic material,harmonies,and overall structure,allowing the work to metaphorically symbolize its structural characteristics and elucidate textual implications in a symbolic manner.Consequently,the deep philosophical connotations of musical language are reflected in the mutual fit of form and meaning.rough the logical construction of thematic material,harmonies,and overall structure,allowing the work to metaphorically symbolize its structural characteristics and elucidate textual implications in a symbolic manner.Consequently,the deep philosophical connotations of musical language are reflected in the mutual fit of form and meaning.

关 键 词：斯克里亚宾 交响诗 《普罗米修斯》 配器色彩 音色通感 

分 类 号：J605[艺术—音乐]