十二音调性音乐理论的研究

发布时间：2019-07-10 13:39

【摘要】：20世纪的音乐理论堪称百花齐放，它好似一个绚丽多彩的万花筒，他们都体现出远离调性音乐的特点。对于音高组织的问题以及分析作品的方法，，许多理论家都想总结出一套可以控制音高的有效方法，乔治·玻尔的《十二音调性》（Twelve-Tone Tonality）就是有目共睹的著作之一。本文通过对“十二音调性”的研究，分析出其严密的音高组织方式以及高度赋予逻辑的内部结构力，作曲者可以通过这种方式对音高材料进行驾驭与控制，使其作品内部结构力既赋予逻辑性又展现出自由化的特点，始终以探索性的方式去获得新的音高组织方法，只有这样才能为新的音乐技法拓展道路。“十二音调性”属于无调性音乐范畴，因此它具备了无调性音乐的总体特征，笔者试图将它与勋伯格的十二音序列做比较，意图在于将十二音调性与十二音序列放在平等的地位看待，这样就能够避免用主流的风格来描述这一时期的作曲技法与音乐特征。在这复杂的音乐技法时代，我们要用客观的态度来认识与了解这些风格流派，尽量做到不偏不倚。然而从玻尔对“十二音调性”的命名又能看出，玻尔将这一理论紧密与传统调性联系起来，认为无调性中的音高关系仍然存在“调性”，由此看出玻尔在和声思维上还是与传统调性有共通之处，笔者也将十二音调性与传统调性在音高组织方式上作比较。本为由两个部分构成，第一部分着重梳理十二音调性的结构框架，这一部分共分为五章，第一章节为十二音调性的理论前提，第二章节是对十二音调性理论中基本概念的解读，第三章节详细阐述三种调性及转调方式，第四章节介绍和声进行，第五章是笔者自己总结出来的一个章节：和值与差值音阶的制作方式。第二部分笔者将十二音调性与调性音乐以及十二音序列音乐进行比较，通过比较表现出它们在音高组织方式上的异同，从而体现十二音调性作为后调性音乐理论的价值所在。
文内图片：

图片说明：-2我们将上图和音阶中的第一行（虚线所框出来的四个数）作为范例进行说明，由于第一
[Abstract]:The 20th-century music theory is a kind of flower, it is like a colorful kaleidoscope, they all reflect the characteristic of away from the tonal music. For the problem of pitch organization and the method of analyzing the work, many theorists want to sum up a set of effective ways to control the pitch, which is one of the most visible works of George Bohr. In this paper, through the research of the "twelve-tone", this paper analyzes its strict pitch organization mode and the internal structure force which is highly endowed with the logic, the singer can control and control the pitch material in this way, so that the internal structure force of the work can not only give the logic but also the characteristics of the liberalization, The new pitch organization method has always been obtained in an exploratory way, and only this can be used to expand the road for new music techniques. The "twelve-tone" belongs to the category of non-tonal music, so it has the overall characteristic of the non-tonal music, and the author tries to compare it with the twelve-tone sequence of Berger, and is intended to put the twelve-tone and the twelve-tone sequence in an equal position. In this way, it is possible to avoid using the mainstream style to describe the composition techniques and the musical features of this period. In this complex musical technique era, we should use an objective attitude to recognize and understand the schools of these styles and try to be impartial as far as possible. However, from Bohr's naming of the "twelve-tone", it can be seen that Bohr links this theory closely with the traditional tonality, and it is considered that there is still a "tonality" in the pitch relation in the non-tonality, and it can be seen that Bohr is in common with the traditional tonality in harmony with the traditional tonality. The author also compares the twelve-tone with the traditional tonality in pitch organization. It is composed of two parts. The first part focuses on the structure frame of twelve-tone, which is divided into five chapters. The first chapter is the theoretical premise of the twelve-tone theory, and the second chapter is the solution to the basic concept in the twelve-tone theory. In chapter three, the three tonality and the transfer mode, the fourth chapter and the sound, the fifth chapter is the author's own summary of a chapter: and the producer of the value and the difference scale. In that second part, the author compare the twelve-tone and tonality music with the music of the twelve-tone sequence.
【学位授予单位】：四川音乐学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J614.1

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