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在以后的年代世界艺术偏极现象加强,也反映在钢琴音乐中,国外的先锋派们的活动大大加强,这种倾向的发展导致了极为多边的创作探索,所有这些可以说它的某些主要倾向清楚地标志着观察阶段。 1950年先锋派们提高了对十二音体系的兴趣,特别是威柏恩不但创研系列的组合,而且还搞了更为严密组织的音乐材料创作的系列主义原则。法国作曲家和指挥家彼尔一布列斯(生于1925年)为两架钢琴写的作品,被他称之为《结构》(第一集、1952年,第二集、1961年)就是这样的例子。这一作品以非常复杂的,纯粹抽象的手法为基础写成。它给听众的印象是一种非常理性的、抽象的作品。
The increasing polarization of the world art in later years is also reflected in piano music. The activities of avant-garde foreign countries have greatly intensified. The development of this trend has led to a very multilateral creative exploration. All of these can be said that some of its major Tendency clearly marks the stage of observation. In 1950, avant-garde people raised their interest in the 12th sound system. In particular, Weiben not only invented a series of series, but also made the series doctrine of the more rigorous organization of music material creation. This is how the French composer and conductor Pieter Bridges (born 1925) wrote for two pianos, what he calls “structure” (Episode 1, 1952, Episode 2, 1961) example of. The work is based on a very complex and purely abstract approach. It gives the audience an impression of being a very rational, abstract work.