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对于现代音乐作品,特别是融合了中国民族器乐创作特点的现代音乐作品,其纵向的空间结构包含有音高、形态、织体、节奏等多种因素。《飞歌》《龟兹吟》和《丝》的处理方式各具特色,三首室内乐作品的纵向空间结构主要表现为音乐的和声或伴奏织体所呈现的带状或块状的运动过程。这一过程既体现了作曲家对纵向空间的思考,也显示出其对空间音响的控制能力。文章以纵向空间结构的和声织体及节奏为主要线索,解析作曲家对纵向空间的思考和布局。
For modern music works, especially the modern music compositions that blend the characteristics of Chinese national instrumental music creation, the longitudinal spatial structure contains many factors such as pitch, shape, texture and rhythm. The handling of “Flying Songs”, “Chuci Yin” and “Silk” all have their own characteristics. The longitudinal spatial structure of the three chamber music compositions mainly manifests as ribbons or massive movements presented by harmonies of music or accompanying weaves process. This process not only reflects the composer’s thinking of the vertical space, but also shows its ability to control the space sound. The paper takes the harmonic texture and tempo of the longitudinal spatial structure as the main clues to analyze the composer’s thinking and layout of the longitudinal space.