摘要
The article deals with some untouched problems concerning Shostakovich’s 24 Preludes and Fugues: the three independent lines formed by the subject and its two fixed countersubjects, all on the same triad; the “answer in natural mode” in the same key; and the techniques of “motif growing” and “straight expansion” as concluded by the author. In addition, the followings are also treated: the application of quite a number of musical forms in the polyphonic suite, and the inner link and formal comparison between preludes and fugues.
The article deals with some untouched problems concerning Shostakovich's 24 Preludes and Fugues: the three independent lines formed by the subject and its two fixed countersubjects, all on the same triad; the “answer in natural mode” in the same key; and the techniques of “motif growing” and “straight expansion” as concluded by the author. In addition, the followings are also treated: the application of quite a number of musical forms in the polyphonic suite, and the inner link and formal comparison between preludes and fugues.
出处
《音乐艺术（上海音乐学院学报）》
CSSCI
北大核心
2000年第1期38-46,共9页
Art of Music(Journal of the Shanghai Conservatory of Music)
