摘要
从室内乐的角度观察,黎英海声乐套曲《唐诗三首》,继承了德奥艺术歌曲"强调声乐与钢琴两个声部构思的整体性"的基本创作原则。文章从音高集合分析方法入手,试图透过对作品音高组织和声部关系的剖析,实现对作品整体的关照,进而揭示作品在形成方面严谨的同构关系,加深对作品内在逻辑关系的认识程度。
From the viewpiont of chamber music to observe Li Yinghai＇s vocal cyclic Three Tang Poems, it showed the composer succeed the basic principle of German Lied, which stressed on both of the singing part and piano one considered in the whole. Based on analysis the pitch class, the papers discussed their pitch structure and voices relationship, and explained the work with its strict isomorphic relations, which could help to realise the inner logical relatio of the works.
出处
《黄钟（武汉音乐学院学报）》
CSSCI
北大核心
2009年第3期78-83,共6页
Huangzhong:Journal of Wuhan Conservatory of Music
关键词
黎英海
声乐套曲
《唐诗三首》
音高组织
声部关系
Li Yinghai （1927-2007）, vocal cyclic, Three Tang Poems, pitch structure, voices relationship
