摘要
文章立足中国五声性风格钢琴音乐作品,以探究音级集合与新里曼这两大西方音乐理论建构的“中国化”过程及其延续性价值为主旨。将音级集合理论引进五声性和声,将我国民族调式与调性扩张联为一体,继承发展童忠良“宫角轴”理论,向西方分析理论觅范式,以阐释五声性多声音乐中对称的多调性,进而以“音网”等方式呈现五声性音级集合的变换逻辑、路径,并追问其东方美学意涵。
Based on the pieces of the piano music of Chinese pentatonic style,this article explores the“Sinicization”and continuity of the pitch-class set theory and the Neo-Riemannian theory.The study introduces the pitch-class set theory into pentachords,combines pentatonic extension with tonal expansion,preserves and develops Tong Zhongliang’s“GONG/JUE Axis”theory(“GONG”and“JUE”correspond to“do”and“mi”respectively of the pentatonic scale),and explains the symmetrical polytonality in Chinese pentatonic music based on a paradigm sought out from the Western analysis theory.Then,it presents the logic and path of pentachords-pcs(pitch-class sets)transformation with Tonnetze,and probes further into its oriental aesthetic connotation.
出处
《黄钟（武汉音乐学院学报）》
北大核心
2021年第2期129-141,163,167,共15页
Huangzhong:Journal of Wuhan Conservatory of Music
基金
国家“双一流”高校建设项目经费资助
上海高水平地方高校建设扶持项目经费资助《后调性音高组织的体系、技法及分析》。
关键词
宫角轴
调性扩张
新里曼理论
五声性音级集合变换
音网
GONG/JUE Axis
tonal expansion
Neo-Riemannian theory
pentachords-pcs transformation
Tonnetze
作者简介
许琛,女,博士,福建师范大学音乐学院副教授(福州350108)。
