调性边缘化形态素描

The Pattern Sketch of Tonality Marginalization

本文将西方19世纪下半叶-20世纪初,游弋在调性边缘的作品予以梳理和归纳,对这样一些作曲家创作的作品风格从调性的角度予以评介和研讨。当然,所谓的"调性边缘化"本身就是一个较为复杂的形态,更是由于作曲家的思维理念、创作风格和创作技法的差异,带来研究上的难度也是可想而知的。笔者仅从四个角度进行了概括性的论述,针对更具典型意义的,或更符合学术常态的形态予以梳理和探究。当然,我们面对这样一个纷纭多姿的风格形态,无论怎样都可能存在着挂一漏万的疏忽或较为肤浅的表述,故此冠以"素描"二字,予以敷衍,也许也是一种权宜之策罢了。

This paper makes an arrangement and generalization of the tonalitymarginalized works of the late 19th and early 20th centuries and provides the comment and in troduction to some composers＇ work styles form the point of tonality. The socalled ＂tonality marginalization＂ is a relatively complex pattern, and composers＇ differ ent thinking ideas, creation styles and techniques make the research even more dif ficult. From four angles, the author of this paper makes an outline discussion and typical meaning research. Facing the numerous patterns, any individual viewpoint may appear casual and superficial. Therefore it is perhaps appropriate to use the word ＂sketch＂ in this paper title.