摘要
从福特创立音级集合分析法以来,福特本人及其他理论家都对该问题进行了探索并提交了答案。福特本人的音级集合分析实践,因更多关注音乐深层构成、忽视音乐的表层形态,而饱受诟病。众多理论家是以福特开创的音级集合分析思维为起点,根据分析对象的特点对其理论进行调整。其中,美国理论家约瑟夫·施特劳斯的分析观念尤其值得关注。福特与施特劳斯音级集合分析中都有值得借鉴的地方,将二者进行综合可以取得更好的分析效果。拉威尔《前奏曲》和贾达群《第三弦乐四重奏》的音乐设计及其音乐分析印证了笔者提出的分析策略。
Allen Forte’s own practice of pitch-set analysis has been criticized for focusing more on the deep-level composition of music and neglecting its surface form of music.More theorists took the analytical thinking of pitch-sets pioneered by Forte as a starting point and adjusted their theories according to the characteristics of the objects analyzed.There are valuable references in the analysis of Forte and Joseph Straus’pitch-sets,and a better analysis can be obtained by synthesizing the two.
出处
《音乐艺术（上海音乐学院学报）》
北大核心
2023年第1期137-150,M0004,共15页
Art of Music(Journal of the Shanghai Conservatory of Music)
基金
2018年度国家社科基金艺术学一般项目“西方现当代音乐分析体系与方法研究”,项目批准号:18BD055。
