希纳斯特拉《第一钢琴奏鸣曲》的潜调性结构力

The Potential Tonality Structure Force of Ginastera's Piano Sonata No.1

在泛调性音乐作品结构内部通过在曲式关键部位以中心音重复、低音重拍强调、转调模进、对称布局、高长音持续等音乐发展手法,从而在调性综合、主音游移的情况下形成潜在的一定逻辑联系的主要中心调性的对称布局和功能序进,宏观上实现潜调性对整部作品的音乐结构力控制。本文主要通过分析希纳斯特拉中期作品《第一钢琴奏鸣曲》的潜调性运动变化,来揭示其作品中泛调性结构内部的中心音设计与骨架性功能序进所形成的潜调性结构力,及其主题材料的贯穿发展对潜调性布局所产生的影响。进而也体现了作曲家这一时期创作风格从外在民族风格的追求向寻求主观意识中暗喻的民族特征的转变直接的传统调性音乐作品向潜调性布局的泛调性音乐作品的转变。

In the pantonality music works, by the means of the music development techniques of the central pitch repeat, bass pitch accent emphasise ,inflexion imitate progress, symmetry layout, high-long pitch lasting and so on, so as to form the symrnetric layout and functional progression of the main centering tonality with potential certain logic conneCtion, achieving the control of music structural force of the potential tonality. The thesis, by analyzing the movement of pantonality of the piano sonata No.1 by Ginastera, Alberto, reveals the centering sound design of his work＇s pantonality structure and potential tonality struCtural force as well as the impaCt by theme developing to the layout of pantonality. It also embodies the Composer＇s style of this period, that is, the transformation from outer national style to the pursue of the metaphor national folk character of the subject consciousness. the transformation from direct traditional tonal music works to the pantonality music works with the potential tonality layout.