音乐创作中的构图与点描——韦伯恩《五个乐章的弦乐四重奏》Op.5第一乐章音乐分析

上海视觉 ›› 2016, Vol. 0 ›› Issue (2): 28-34.

音乐创作中的构图与点描——韦伯恩《五个乐章的弦乐四重奏》Op.5第一乐章音乐分析

郑艳

发布日期:2019-10-18
作者简介:郑艳：博士，华东师范大学音乐系副教授，硕士生导师（上海200241）。
基金资助:
上海市教委科研创新重点项目《符号学视角下的中西方现当代音乐研究》成果,项目编号：14ZS050

Composition and Punctualism in Musical Production—Analysis of the First Chapter of the Five Movements for String Quartet (Op.5) by Webern Quartet

Zheng Yan

Published:2019-10-18

摘要/Abstract

摘要： 本文以表现主义音乐代表人物奥地利作曲家安东·韦伯恩(1883-1945)的早期作品《五个乐章的弦乐四重奏》Op.5第一乐章作为研究对象,以美国音乐理论家阿伦·福特教授的音级集合理论和我国作曲家贾达群教授的“结构对位”理论作为分析方法和手段,从视觉艺术的视角追溯了韦伯恩的音乐设计思维,探讨作曲家如何将动机、音高、音型、速度等素材进行谋篇布局以及如何以点描的手法构造音响造型,分析了构成作品的各音乐要素间的相互关系以及对整体作品的结构力影响。

关键词: 韦伯恩, 弦乐四重奏, 构图, 点描, 主题动机, 结构布局, 逻辑

Abstract: This essay studies the first chapter of the Five Movements for String Quartet (Op.5) by the great Austrian expressionist composer Anton Webern (1883-1945). The author uses two methods of analysis: the American music theorist Allen Fort’s set-class theory and the Chinese composer/theorist Jia Daqun’s theory of structural counterpoint. This essay explores how composer negotiated through different parameters such as motive, pitch, pattern, tempo and so on. Furthermore, this essay explores connections of Webern’s compositional design to techniques of pointillism in visual art. In these explorations the author demonstrates specific processes through which various compositional elements contribute to the musical whole.

Key words: Webern, String Quartet, Composition, Pointillism, Motive, Structural Design, Logic

郑艳. 音乐创作中的构图与点描——韦伯恩《五个乐章的弦乐四重奏》Op.5第一乐章音乐分析[J]. 上海视觉, 2016, 0(2): 28-34.

Zheng Yan. Composition and Punctualism in Musical Production—Analysis of the First Chapter of the Five Movements for String Quartet (Op.5) by Webern Quartet[J]. SHANGHAI VISION, 2016, 0(2): 28-34.