朱践耳交响曲的和声技法分析

The melodic features in Zhu Jian-er's symphonic compositions

朱践耳交响曲和声材料来源最突出的特征就是对十二音序列材料的运用。一方面,作曲家通过将原始十二音序列及衍生序列所包含的各种音程元素,根据音乐表现的需要衍生出各种纵向和声结构形态并获得多样化音响,体现“横生纵”的和声结构思维,以此构成朱践耳交响曲和声语言的风格基础;另一方面,每部作品中大量出现横向线性的声部进行自然地衍生出各种和声运动形态和复调对位声部在各自的运动过程中所构成的纵向复合功能或多调性的和声方法,也构成了作曲家和声语言的又一特色。本文就在此基础上对朱践耳交响曲所使用的和声技法进行分析,并将其归结为音程元素组合和声、音块、十二音和声、线形运动和声、对称结构和声与多调性和声等六大类。

A salient feature in the sources of harmonic materials Zhu uses is that of twelve-tone series. On one hand, the composer, based on the needs of musical expression, develops various vertical harmonic structures to gain the varieties of sounds which reflects a “horizontal giving birth to vertical” thinking in harmonic structure, via the means of using various elements of intervals contained in the original twelvetone series and deprived series, and thus constitutes his stylistic foundations of harmonic language. On the other hand, the horizontal or linear voices frequently appearing in his works naturally lead to compounded functions or multi-tonal approaches of harmony realized in sophisticated patterns of harmonic motion and counterpoint voices. And this is other feature of the composer＇ s harmonic language. On the basis of these analyses of Zhu＇s symphonic works, this paper concludes his techniques of harmony as six categories： compounded harmony of interval elements, chunk, twelve-tone harmony, linear motion harmony, symmetrical structure and multi-tonal harmony.