自由作曲途径中的潜调性内涵  

The Intension of Potential Tonality in the Approaches of Free Composition

作　　者：姚恒璐[1] 

机构地区：[1]中央音乐学院作曲系,北京100031

出　　处：《星海音乐学院学报》2003年第4期30-35,共6页Journal of Xinghai Conservatory of Music

摘　　要：非调性音乐当中的调性意义,是或多或少地随着十二音音级的某些具体的音乐实体来应用和判断的,当作曲家在作曲的过程中提供了这种音乐片段的暗示时,调性的意义才有可能突显出来。在某些非调性音乐的作品当中,确实存在着潜在调性的现象,这在很多此类作品中已经形成了独特的一景,应当引起人们在创作、认识过程中的关注。可通过运用调性分析与非调性分析相结合的认识方式,从纷乱的音高组织中获取调性骨干音级和骨干低音进行的线条,用以印证在此类作品中存在的潜在调性的事实。对潜调性作品的分析,一方面可以沿着作品的音高现象追寻作曲家创作中的心理轨迹,加深人们对于非调性音乐作品中音高组织的多重认识;另一方面也可以打破调性与非调性音高关系组织方面认识上的屏障,以此开阔人们的认识视野,对于音乐创作实践也是颇具启迪意义的。The tonal significance in non-tonality should be applied and judged by certain musical entity of twelve-tone degrees more or less. Once the composer provides such implication in some musical parts, the tonal meaning could be possible exposed. Certainly, It exists the phenomena of potential tonality in some music works shown in a manor of non-tonality, which have been formed a unique scene in many similar works and we should pay more attention in composing and recognizing process. To prove the truth of existing potential tonality in such compositions, the paper indicates the way of obtaining both backbones of tonal degree and progress of bass lines initially from confused pitch organization through using the combinational methods of tonal and non-tonal analyses. The aim of such potential tonal analysis is able to deepen the multiple recognition of pitch organization in non-tonal music works and to search the composers' psychological tracks during their creation following the pitch phenomena inside the composition. On the other side, it is able to break the protective screen in knowing aspects between tonal and non-tonal pitch relationship, so as to widen people's recognizing field of vision, from which it should be highly an enlightening significance in compositional practice.

关 键 词：潜调性 非调性 认识视野 自由作曲 音高模式 调性功能运动 乔治·波尔 《6首钢琴前奏曲》 《毫无生气》 《四首小提琴与钢琴小品》 

分 类 号：J614[艺术—音乐]