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复合音程循环的构成与技术特征研究 被引量:12

Research on the Structure and Technical Characteristics of Compound Interval Cycles
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摘要 该文以音程循环可构成八声音阶或六声音阶为理论依据,以一个音数可拆分成一大一小或一小一大的音程比进行循环能产生不同的音高组合为切入点,来构建音数0-6及其补集所产生的全部复合音程循环。复合音程循环在作品的创作运用中表现出分割、共同音级转调、转换以及有机发展等技术化特征,这些手法一起对音乐作品结构力的产生起到重要的作用。循环技术本身具有方法论意义,以复合音程循环的视角对作品进行分析也能得到一些新的启示。 This article is based on the theory that interval cycle can compose Octatonic scale or Hexatonic scale. One interval can split into one large and one small or one small and one large interval ratio to cycle, which can produce different pitch collections. As this starting point, the article tries to construct all compound interval cycles produced by interval 0 - 6 and its complement. In the creation of musical works, compound in- terval cycles displays several technology-oriented approaches such as partition, common pitch classes modula- tion, transformation and organic development. These techniques play important roles on the production of mu- sical works' structural power. Cycle technique has methodological significance by itself. It can get some new inspiration by analyzing musical works with perspective in compound interval cycles.
作者 陈林
出处 《黄钟(武汉音乐学院学报)》 CSSCI 北大核心 2014年第4期104-116,共13页 Huangzhong:Journal of Wuhan Conservatory of Music
关键词 复合音程循环 音程比 组合形态 结构力 音乐分析 compound interval cycles interval ratio combination form structural power music analy- sis
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参考文献12

  • 1Lambert, J. Philip: Interval Cycles as Compositional Resources in Music of Charles Ives, Music Theory spectruml ( 1990), pp. 43 -82.
  • 2Lambert, J. Philip : Interval Cycles as Compositional Resources in Music of Charles lves, pp. 43 - 82.
  • 3[美]罗伊格·弗朗科利.《理解后调性音乐》,杜晓十、檀革胜译,人民音乐出版社2012年版,第43页.
  • 4J. Kent Williams : Theories and Analyses of Twentieth - Century Music, Harcourt brace, 1997, pp. 200 - 202.
  • 5Straus Joseph N: Introduction to Post - Tonal Theory. Englewood, Cliffs: Prentice Hall, 2005, pp. 144.
  • 6Antokoletz Elliott : The Music of Bela Bartok : A Study of Tonality and Progression in Twentieth - Century Music, Univer- sity of California Press, Reprint 1990, pp. 271 - 311.
  • 7Lambert, J. Philip: Interval Cycles as Compositional Resources in Music of Charles Ires, pp. 43 -82.
  • 8Karpinski, Gary S: The Interval Cycles in the Music of Bartok and Dehussy through 1918, Ph.D. diss. , City University of New York, 1991.
  • 9Aaron Travers : Interval Cycles, Their permutations and generative properties in Thomas Ades'ASYLA, DMA. diss, Uni- versity of Rochester, 2005.
  • 10Antokoletz Elliott : The Music of Bela Bartok : A Study of Tonality and Progression in Twentieth - Century Music, p. 46.

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