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【作曲技术理论与音乐作品研究】郭新/半音进行掩盖下的八声音阶和声语汇

 ——也谈斯克里亚宾晚期《钢琴前奏曲》Op. 74的音高组织关系


  摘要:以音级标记法辨识音阶构成的方式,确认斯克里亚宾晚期最后一部作品《五首前奏曲》Op. 74是以有调性中心、音级间具有等级关系的八声音阶为音高材料的基础。其音高组织手段为原位八声音阶主循环圈T-3系列的移位,与偶尔出现的辅循环圈非T-3类移位交替,并注重低音音级有功能倾向的进行。和弦声部连接时外音以半音经过音的形式掩盖了实质上由音阶内音级构成的和弦音进行,同时探索性地融进八声音阶以外的其它类型音阶以扩展音高材料的资源。

  关键词:音级标记法;“神秘和弦”;八声音阶;六声音阶;减调式;增调式;和声语汇

  中图分类号:J614.1       文献标识码:A   DOI:10.3969/j.issn1003-7721.2013.01.000
  作者简介:郭新(1952—),女,美国佛罗里达州立大学音乐理论哲学博士,中央音乐学院作曲系教授(北京 100031)。
  收稿时间:2012-08-30


Octatonic Harmonic Language Cocooned under Chromatic Surface:Pitch Organizations in Scriabin’s Last Work Prelude Op. 74

 
 GUO Xin


  Abstract: The pitch materials of Scriabin’s last work Prelude Op. 74 are distinguished through his notational consistency, which is based on octatonic scale with its tonal center and hierarchical relationships. The pitch materials are organized by T-3 type transpositions of the master octatonic scale that is altered with other supplemental transpositions occasionally, and emphasized by functional progression in the bass line. As for the chordal successions, chord tones in the octatonic scale are cocooned in chromatic passing non-chord tones. The scale types other than octatonic are also explored to broaden the pitch sources.

  Key Words: orthography, ‘mystic’ chord, octatonic scale, hexachords scale, diminished mode, augmented mode, harmonic vocabulary