自由十二音非调性音乐是朱践耳交响曲重要的音乐语言特征之一。然而,在其充满“现代精神”的作品结构内部,当我们拨开自由十二音非调性音乐繁复“面纱”并透过各交响曲结构内部的中心音设计与骨架性和声功能布局时,仍然可以看到每部作品隐存着特定的潜调性关系组织。这种潜调性组织不仅体现着作曲家通过传统的调性功能手法在作品的“深层结构”形成严谨的结构逻辑,也是作曲家在自由非调性音乐的“表层结构”音响外衣下努力与传统调性音乐相结合的隐性手法之一,体现了作曲家在创作中坚持“调性与无调性结合、传统与现代结合”的“合一法”美学观念。本文就其使用的主音持续、功能序进、调式音列、音高集合与双调性等各种不同潜调性技法进行归结和分析。 Free twelve tone non-toned music is one of the important musical language features of Zhu Jian’er’s symphony. However, within its structure full of “modern spirits”, when we divert the complicated “veil” of the free twelve-tone non-toning music and design it through the central sound design and the framework and sound functional layout within the symphonic structure , You can still see that each work has a hidden latent relationship with a specific organization. This latent organization not only reflects the composer’s rigorous structural logic in the “deep structure” of the work through the traditional tactics of tonality, but also the composer’s efforts under the outer coat of “surface structure” of free non-tonality music One of the tacit ways of combining traditional tunes with music is that the composers insist on the aesthetic idea of ​​“unifying law” that combines “tonality and non-tonality, and a combination of tradition and modernity”. This paper summarizes and analyzes a variety of different latent techniques, such as continuous vocalization, progressive sequencing, tone sequence, pitch set and dual tone.