“音色-音响”观念下的“微音高”——利盖蒂成熟时期对于“有限偶然性微分音”的探索与运用
发布时间：2018-11-23 13:48
【摘要】：乔治·利盖蒂(Gy?rgy Ligeti,1923—2006)作为20世纪后半叶先锋派作曲家之一,在成熟时期首创了微复调技法,为色彩斑斓的"音色-音响"音乐做出了卓越的贡献。作曲家于60年代末70年代初在半音体系的基础上对音高进行了更为深入的挖掘和探索,以弦乐、管乐和声乐特殊的演奏演唱法创造了"有限偶然性微分音",体现了对微复调技法的进一步创新。文章以音高作为切入点,结合作曲家的创作背景和思维,以《第二弦乐四重奏》《双协奏曲》和《钟与云》为例,阐释"有限偶然性微分音"这一新因素的具体实现方式,并对更具色彩的横向旋律写作、构建更为复杂的微复调织体、创造更为新颖奇特的"音色-音响"方面所发挥的重要作用进行论述。
[Abstract]:As one of the avant-garde composers in the second half of the 20th century, George Ligetti pioneered the technique of micro-polyphony in the mature period, and made outstanding contributions to the colorful "timbre-sound" music. In the late 1960s and early 1970s, the composer excavated and explored the pitch on the basis of the semitone system, and created the "finite contingent differential sound" with the special singing methods of string, orchestra and vocal music. It reflects the further innovation of micro polyphony technique. Taking pitch as the starting point, combining the composer's creative background and thinking, taking "the second string quartet" double Concerto "and" Zhong and Yun "as examples, the paper explains the concrete realization way of the new factor of" finite contingent differential sound ". This paper also discusses the important role played by the writing of more colorful lateral melody, the construction of more complex micro-polyphonic texture and the creation of more novel and peculiar "timbre and sound".
【作者单位】： 中央音乐学院图书馆;中央音乐学院作曲系;
【分类号】：J614
[Abstract]:As one of the avant-garde composers in the second half of the 20th century, George Ligetti pioneered the technique of micro-polyphony in the mature period, and made outstanding contributions to the colorful "timbre-sound" music. In the late 1960s and early 1970s, the composer excavated and explored the pitch on the basis of the semitone system, and created the "finite contingent differential sound" with the special singing methods of string, orchestra and vocal music. It reflects the further innovation of micro polyphony technique. Taking pitch as the starting point, combining the composer's creative background and thinking, taking "the second string quartet" double Concerto "and" Zhong and Yun "as examples, the paper explains the concrete realization way of the new factor of" finite contingent differential sound ". This paper also discusses the important role played by the writing of more colorful lateral melody, the construction of more complex micro-polyphonic texture and the creation of more novel and peculiar "timbre and sound".
【作者单位】： 中央音乐学院图书馆;中央音乐学院作曲系;
【分类号】：J614
【相似文献】
相关期刊论文 前10条
1 朱起东;;“微分音”和哈巴[J];音乐艺术;1991年04期
2 梁红旗;;索菲亚·古拜杜丽娜音乐作品中微分音解析[J];黄钟(中国.武汉音乐学院学报);2008年03期
3 钟峻程,周玉娥;广西民间器乐中的微分音现象与西方微分音乐[J];交响.西安音乐学院学报;2005年03期
4 陈国威;何莲子;;宋名筑室内乐《弦韵两首》中“微分音移位五声性调式体系”的运用兼及技法分析[J];音乐探索;2014年03期
5 陈洁;何荣;;微分音小提琴、中提琴频谱音乐研究[J];中央音乐学院学报;2013年01期
6 丁冰;;论古拜杜丽娜《Quaternion》的技法特征[J];黄钟(中国.武汉音乐学院学报);2010年03期
7 梁红旗;;索菲亚·古拜杜丽娜创作技法中音高复合特征研究[J];音乐艺术(上海音乐学院学报);2008年03期
8 唐朴林;;还我中华音乐之“本”之“律”[J];星海音乐学院学报;2011年03期
9 祝龄;龟兹乐多变声——作曲初探[J];人民音乐;2002年06期
10 梁雷;王婷婷;;碰撞中的回响——论陈晓勇的音乐[J];音乐艺术(上海音乐学院学报);2008年03期
相关会议论文 前1条
1 朴，
本文编号：2351805
本文链接：https://www.wllwen.com/wenyilunwen/yinlelunwen/2351805.html
