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木文所运用的,是一种新型的音乐分析方法。此方法不是仅对一首作品,而是对由五首作品构成的一组所进行的宏观分析。因此,有必要在进入具体分析之前,阐明四个方面的问题,以免产生对某些基本概念的误解。一、整个调性写作时期,所有的作曲家都经常地运用着某些简单的音调模式(Pitchpattern)。因此,文中被称为贝多芬晚期五首四重奏主题基础的两种音调模式,不一定仅限于贝多芬的音乐语言。例如,在布里顿的《旋螺丝》和瓦格纳的《尼伯龙根的指环》中,就有一种由连续的四度上行或下行所构成的简单音型被用作主要主题乐思。这就意味着,由于调性旋律是这整个时期共同的语言,因此,这一时期的全部音乐,可作为一个同质的整体、一种连续的传统来讨沦,就象对待一部完整的作品一样。
Muwen used is a new type of music analysis. This method is not a single piece of work, but a macro analysis of a group of five works. Therefore, it is necessary to clarify the four aspects before entering a specific analysis in order to avoid any misunderstanding of certain basic concepts. First, throughout the tonal writing period, all composers often used some simple pitch patterns (Pitchpattern). Therefore, the two tone patterns underlying the theme of the late Beethoven Five Quartets are not necessarily confined to Beethoven’s musical language. For example, in Brittany’s “Screws” and Wagner’s “Ring of Nibelungen,” there is a simple sound pattern consisting of four consecutive degrees up or down used as the main theme music. This means that as the melody of tonality is a common language throughout this period, all the music of this period can be conquered as a homogeneous whole, a continuous tradition, as if it were a complete Works the same.