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本书试图对1900年以来涉及到和声技法方面的不同倾向进行论述。19世纪末作曲法的历史清楚地表明:过于膨胀的和声思维抑制了对旋律和节奏的思考,从而使它在世纪转折点前后变成了作曲法中起决定性作用的本质要素。但是,这种无所不包的和声思维看起来却像是一个旋涡,它自身中就潜藏着与调性的极限相碰撞、甚至跨越这个极限的趋势。人们越来越相信,要用旋律、节奏以及音色的力量去摆脱过于膨胀的和声的束缚,为创作的可能性赢得空间,实际上,这种原先被看作是破坏性的行为,后来却变成了成功的尝试。众所周知,这是通过不同的方式实现的。
This book attempts to elaborate on the different tendencies related to harmony techniques since 1900. The history of composer law at the end of the 19th century made it clear that overly inflated harmonic thinking inhibited reflections on melody and rhythm, making it an essential element of the decisive role in composer law before and after the turning point of the century. However, this all-encompassing harmonic thinking looks like a whirlpool, in itself lurking a tendency to collide with and even exceed this limit. People are increasingly convinced that using melody, rhythm, and timbre power to get rid of the overshooting harmony tone and gain space for creative possibilities was, in fact, originally seen as a devastating act, but later Become a successful attempt. As we all know, this is achieved in different ways.