通观20世纪钢琴音乐作品,如果要用一种关系把它的基本面貌概括出来的话,毫无疑问,那就是:从单一到多样。包括:音色、时值、重音、织体、演奏法、谱式等等。有人把它称之为现代音乐历史和风格的“先行者”和“探测器”,其实,也就是从一个方面表明了钢琴音乐在20世纪音乐历程当中所扮演的特殊角色,并且以一种持续不断的革新精神和探险行动为此佐证。 在发声方面,十分明显的是,由于钢琴音色的相对单一性(与其他乐器相比),一般意义上,也就是通过琴槌击弦和有限的共鸣生成。除此之外,似乎就乐器本身而言没有其他可能。然而,在20世纪的音乐当中,则可以发挥它比其他乐器更富有多声性能的特点,甚至可以极度扩张这种特点,把“同时发声”由原先意义上的“声音立柱”扩大成“声音团块”,进而,不仅仅声音的外在厚度发生了变化,更重要的是声音的内在质量发生了变化。这种做法一般就是所谓的“音块”或者“音 If we look at the 20th century piano music works, if we want to generalize out the basic features of a piano in a relationship, there is no doubt that it is from unity to diversity. Including: Tone, time value, stress, texture, performance method, spectrum and so on. Some people call it “forerunner” and “detector” of the history and style of modern music. In fact, it shows the special role played by piano music in the music history of the 20th century in one aspect, This is evidenced by the innovative spirit and adventure. In sounding, it is quite obvious that due to the relative unity of the timbre of the piano (compared to other instruments), in general, it is generated by hammer striking and limited resonance. Apart from that, there seems to be no other possibility with the instrument itself. However, in the 20th century music, it can play more than other musical instruments more features, and even can be extremely expanded this feature, the “simultaneous sound” from the original meaning of the “sound column” is expanded to “sound Clumps ”. Furthermore, not only the external thickness of the sound has changed, but more importantly, the intrinsic quality of the sound has changed. This practice is generally the so-called “sound block” or "sound