无调性、引用、即兴、无声——从《时间组歌》看卢卡斯·福斯中期的创作特点(上)

Atonality,Quoting,Improvisation and Silence:The Middle-Period Composition Characteristics in Time Cycle by Lukas Foss

《时间组歌》是美国作曲家卢卡斯·福斯的一部重要的转型作品。作曲家首次尝试无调性写作,并在创作中对引用技术、无声演奏、即兴风格进行初探,继而成为其中期创作的重要特征。该作品无调性与潜调性的写作方式预示着福斯中期创作中新的表现意义与结构方式;无声演奏的雏形推动着福斯对新技术的探索;对马勒音乐的引用体现出对历史的敬意;独立于四首歌曲的即兴间奏曲预示着中期带有即兴思维的不确定性风格。这些创作特点对福斯探索调性与无调性、过去与现在、古典与先锋、控制与自由、有声与无声等二元性的创作理念产生了深远影响。

In his major and remarkable work Time Cycle composed in 1959,Lucas Foss explores atonality,quotation,inaudibility and improvisation for the first time,which then became an organizational characteristics of his middle-period composition.Throughout the analysis of Time Cycle,the purpose of this article is to demonstrate the application function between atonality and potential tonality which takes new expressive meanings and structures,to analyse the improvised interludes which indicate the improvisation concept in his other works,and finally,to illustrate the influence on Foss's stylistic features.