论十二音对位——现代音乐复调技法研究之六

On 12-Note Counterpoint

二十世纪初发展起来的十二音技术,如今仍是控制非调性音乐线条和织体的常用方法之一。十二音音乐中虽然也用和声性结构,但从本质上讲它是对位性的。因此,文章作者认为十二音对位是基于十二音技术的对位法,是多种音列形式同时作线性陈述而构成的非调性复调织体;十二音列及其变体形式、音程顺序以及陈述方式,是十二音对位中音高组织、声部对比、织体构成的主要结构特征;通过分析、归纳各音列形式结合的对位类型及其和声处理原则,进而探讨了十二音对位与十二音技术相关联的独特复调思维与技法。

The twelve-tone technique, developing in the early twentieth-century, is one of common methods to control both the line and texture of atonal music at present. For twelve-note composition, it is the counterpoint of essence even though there are some kind of harmonic structures in it. The papers held that based on twelve-tone technique, the 12-note counterpoint had been atonal polyphonical textures constituted by several tone row contours line-motions simultaneity. That the twelve tone row with its variant, seqyence of intervals with the way of statement are the main structural features to the pitch organization, voices balance and textures component in the 12-note counterpoint. Through analysis and classification of various counterpoint types of interval categories as well as the principle of their harmonic progressions, the writer explored the 12-note counterpoint as well as the individual polyphonic ideas and technique related to the twelve-tone technique.