威伯恩自由无调性管弦乐作品中的节奏特征(下)

The Rhythmic Features of Webern's Free Atonality Orchestral Work(Ⅱ)

在20世纪众多作曲家之中,威伯恩在节奏方面的创造性是举世瞩目的。特别是他的"节奏比例模式",使传统节奏发生了质变,并为后来的节奏序列化和整体序列写作,提供了重要的前提和基础。文章以威伯恩早期自由无调性时期的两部管弦乐作品《六首管弦乐小品》Op.6和《五首管弦乐小品》Op.10为对象,从"节奏细胞"的形成以及关系原则着手进行剖析,挖掘、揭示作品中节奏的组织方式;并进一步用作品文本说明、论证节奏细胞的变值发展手法与节奏细胞的谱面组成方式;最后总结出威伯恩早期管弦乐作品中的节奏特征以及对作者晚期节奏风格产生的影响[本文(上)发表于《黄钟》2007年第三期上]。

Among the well known composers in 20th century, that A. Webern＇s creation on rhythm were attained internationally known achievements, and his model of rhythmic proportion, in particular, had maden the classical rhythm qualitative changed. The rhythmic proportion was an important precondition and founda- tion to the serialize rhythm and integral serialism later. The article analyzed Webern＇s two early compositions, the Six Orchestral Pieces, Op. 6 （1909）, and the Five Pieces for Orchestra, Op. 10 （1913）, both of them in the style of free atonality. From the relation principle of the rhythmic cell, the writer discussed Webern＇s way of organizing rhythm, technique of developing variate of rhythmic cell, as well as its score writing way, and summarized the Webern＇s early orchestral outputs rhythmic features and its impact on the rhythm style of the works in his later years.