摘要
西方专业音乐创作中首次脱离乐音、直接使用噪音的打击乐合奏《电离》,是美籍法裔作曲家瓦列兹探索以音响本身反映科学中的物象,丰富音乐表现手段的实验性作品。文章通过对理解作品题目和作品中结构手段之间的联系,打击乐器的功能分类和演奏员乐器分配与营造空间感的关联,核心节奏的类型和组合方式,节奏与音色结合组成的基本织体形态,整体曲式结构划分及各部分内的织体布局这五方面的详细解析,说明该作品的构思、结构手段和历史性贡献。
Ionization,the work of Franco-American composer Varése,is the first time break away from musical sound and directly using the noise in western professional music creation.In this work,Varése explore the use of sound to reflect the objects in science and enrich the means of musical expression.This paper explains the conception,design,devices,and historic contribution of the work through a detailed analysis of five aspects:understanding the relationship between the title of the work and the design and devices used in the work,the functional classification of percussion instruments and the correlation between the assignment of the instruments to their players and the creation of a sense of space,the types and combinations of core rhythms,the basic texture and form of the mixture of rhythm and timbre,and the division of overall form structure and the texture and layout of each part of the structure.
出处
《黄钟（武汉音乐学院学报）》
北大核心
2021年第3期119-140,168,共23页
Huangzhong:Journal of Wuhan Conservatory of Music
关键词
电离
打击乐
音色
节奏
织体结构
Ionization
percussion
timbre
rhythm
texture structure
