三和弦变换及其结构组织手法——新里曼理论视域下的舒伯特《降E大调钢琴三重奏》第一乐章探究

Triadic Transformations and Its Structural Organization Technique:A Research of the Schubert's Piano Trio in E-flat Major First Movement in the Context of Neo-Riemannian Theory

文章主要探讨新里曼理论对三和弦的分析运用,梳理PLR变换的内涵及其演变过程,简述新里曼与里曼之间的关联。之后运用PLR变换来分析舒伯特《降E大调钢琴三重奏》第一乐章中局部的三和弦现象。文章以科恩提出的三种基本变换模型为参考,在具体分析中结合其他理论之视角与分析技术来梳理作品中三和弦的相互关系。通过将三和弦视作“纵向”的音高材料,探索它们在全曲中潜在的结构意义,从形本身层面更加客观、深入地认识上述作品中的音乐现象。在整个分析过程中,笔者也尝试进一步拓展、丰富PLR变换在实践中的运用策略。

Base on the discussion of the analysis method of Neo-Riemannian Theory on triads,generalization of the PLR connotation and its evolution,and the brief introduction of the relationship between and Riemann Theory and Neo-Riemannian Theory,the article analysis the triad phenomenon in the first movement of Schubert's Piano Trio in E-flat Major with the PLR.Took the three basic transformation models proposed by Cohen as a reference,the author combines other theoretical perspectives and analytical techniques to sort out the interrelationship of triads in the work.By considering the triads as vertical pitch materials,the article explores their potential structural significance in the whole piece,and as well as from the view of the shape itself,the article provides a more objective and in-depth understanding of the musical phenomenon in the work.Throughout the analysis process,the author tries to expand and enrich the strategies of PLR transformations in practice.