从“和声复调”到“旋律复调”——基于库尔特《线性对位基础》巴赫复调音乐的再认识

From“Harmonic Polyphony”to“Melodic Polyphony”:Recognition of Bach’s Polyphony Based on Kurt’s Grundlagen Des Linearen Kontrapunkts

从思维角度看,“和声复调”和“旋律复调”是两个截然相反的概念,简言之,“和声复调”是纵生横,“旋律复调”是横生纵。西方复调音史上第二个高峰巴洛克时期的代表人物巴赫的复调音乐一直被认为是前者,但库尔特认为巴赫复调音乐属于后者,其观点在专著《线性对位基础》中加以论述。文章结合这一观点探讨巴赫复调音乐作为“旋律复调”的再认识,内容包括复调音乐历史、巴赫对位技术和巴赫旋律的再认识三个方面。

From a new thought angle,“Harmonic Polyphony”and“Melodic Polyphony”are two opposite concepts.In short,“Harmonic Polyphony”is vertical,but it can also generate its horizontal development.On the contrary,“Melodic polyphony”is horizontal,but it can also generate its vertical development.Bach,the representative of the second peak Baroque period in the history of Western polyphony whose music has always been regarded as the former,but Kurth thinks Bach’s polyphony belongs to the latter.Kurth’s viewpoint is discussed in his monograph Grundlagen Des Linearen Kontrapunkts.This paper discusses Bach’s polyphonic music as a new cognition of“Melodic polypho­ny”,including the history of polyphonic music,Bach’s counterpoint technique and the recognition of Bach’s Melo­dy.