整体序列主义思维下的音级集合——以巴比特《三首钢琴曲》No.3的音高组织为例

The Pitch-Class Set in the Total Serialism ——Take the Pitch of Milton Babbitt's Three Compositions for Piano as an Example

具有音乐家和数学家的双重身份的米尔顿·巴比特所创作的《三首钢琴曲》是整体序列主义音乐的代表作品。其中的第一首在涉及整体序列主义音乐的理论书籍中时常被作为范例来介绍与分析,但第三首则未曾像前者一样而被较为频繁地提及。鉴于该情况,笔者推测,第三首乐曲所体现出的对整体序列主义音乐创作技法的运用也许不是十分严谨,甚至可能还会具有在一定程度上的、与整体序列主义音乐创作原则相悖的自由度。然而,笔者认为,二者既然同属一部组曲,就必然是同为整体序列主义创作思维下的作品。因此,本文将以第三首乐曲作为分析对象,试图通过对作品音高组织的观察,来探究其所涉及的写作技术和整体序列主义创作观念,以求了解和掌握蕴含于该作品中的、与上述内容相关的写作规律和原则。

The Three Compositions for Piano composed by Milton Babbitt, who has the dual role as a composer and a mathematician, is representative works of the total serialism. The first of Three Compositions for Piano is often introduced and analyzed as an example in music theory books , but ,the third, is not mentioned more frequently than the former. In view of this , the author speculated that the third of Three Compositions for Piano reflects the use of the the total serial techniques may not be very strict, and may even show a certain extent of freedom.However, the author believes that since the two pieces belong to a suite, they must have the same thinking. Therefore, this article will take the third of Three Compositions for Piano as the object, trying to observe the pitch of the piece, to explore the composition techniques of total serialism, in order to understand and master the rules and principles of the composition contained in the work.