从“加法原则”到“对比原则”——18世纪之前“自由曲式”的结构原则

FromAdditional Rule to Contrast Rule——The Structural principles of Free Form before 18th Century

文章从自由曲式的理论探讨入手,对18世纪之前主要受制于歌词文本的声乐和器乐曲式的构成原则及相关作品,按照历史编年的顺序进行了论述和分析,并探究这些与通常所说的三部曲式、奏鸣曲式等大相径庭的音乐结构和"自由曲式"之间的关系,提出了曲式肇始于依附于歌词的、用"加法原则"(主要为"段分式"和"迭加式"两类)组织而成的结构,并在巴洛克时期逐渐发展为具有不同音乐性格的用"对比原则"构成的结构这一观点。

The article, approaches to the theory of free form, analyzes the structural principles of the vo- cal and the instrument forms, as well as some related works composed before 18th century, which are subjected to the texts from the chronicle, and explores the connections between the music forms quite different from the ABA form and the sonata form with the free from. The author puts forward the conclusion that the music forms initiate the structures, which was attached to the text and was organized by the additional rule that is mainly a sectional type and an overlay type. It also gradually evolved into the structures, which were constitu- ted by the contrast rule of baroque period.