音调和"反音调"的认知结构在维也纳十二调行
Paul T von Hippel1, David Huron2
1University of Texas, Austin.
概括
阿诺德·肖恩伯格和安东·韦伯恩创建了"反色调"的十二音排,避免了传统的键结构. 他们的音乐在统计学上不同于随机排列的音调.
科学领域:
- 音乐学 音乐学 音乐学
- 音乐理论 音乐理论
- 声学 声学 在声学方面
背景情况:
- 序列主义,特别是十二色技巧,是一种在20世纪初发展起来的作曲方法.
- 几个世纪以来,音调和系统一直是西方音乐的基础,它依赖于音符之间的等级关系.
- 在音乐中对音调的感知受到音乐间隔的学习方案和声学特性的影响.
研究的目的:
- 调查阿诺德·肖恩伯格和安东·韦伯恩的十二色行是否表现出破坏音色感知的结构性质.
- 为了比较Schoenberg和Webern的行与随机生成的行和Alban Berg的行的音调特征.
- 为了确定这些行的"反色调"性质是否在控制其他组成特征时仍然存在.
主要方法:
- 来自十二音排的音乐段的定量分析.
- 统计比较的音调适合主要和次要的关键配置文件的实际与随机生成的行.
- 控制的统计分析,考虑行特征,如对称性,衍生结构和间隔/三合一偏好.
主要成果:
- 与随机行相比,Schoenberg和Webern的十二色行表现出与主要和次要键形状相匹配的音调明显较低.
- 这种"反色调"结构在控制其他行特征后也具有统计学意义.
- 相比之下,阿尔班·贝尔格的十二音排则经常包含与音调密钥配置密切相匹配的段落.
结论:
- 肖恩伯格和韦伯恩故意构建了他们的十二色行,以避免或破坏音调方案.
- 十二音音乐中的作曲选择积极地反对传统的音调感知.
- 艾尔班·伯格在十二音音乐中的作曲方法显示出更大的倾向于纳入音调元素.
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