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在一九四五年后一段时间的音乐中,节奏这个概念显得有些过时,如同人们所知的调性概念一样,节奏这一概念的功用和现实意义开始变得不稳定。 节奏—新音乐的中心问题 节奏与拍子间传统而又不断发展的联系,最终在和声、旋律和节奏之间几乎还未弄清的一种复杂的交织关系,使得我们在本世纪的音乐发展中难以发现新的音乐语言。因此,一九四五年后的许多音乐先驱们也就常常喜欢去评论他们的前辈为找到这些音乐语言所作出的尝试与努力。例如勋伯格的尝试:在其旋律中人们可以发现某些确切的调性残余的存在;再有,新古典主义的斯特拉文斯基,人们对他旋律与和声中的传统主
The concept of rhythm seems to be somewhat outdated in music after a period of 1945, just as what is known as the concept of tonality, the function and practical significance of the concept of rhythm begins to become unstable. Rhythm - the central issue of new music The traditional and growing relationship between rhythm and tempo, and ultimately a complex interweaving relationship between harmony, melody and tempo that has made our music development of this century Difficult to find new musical language. Therefore, many music pioneers after 1945 often like to comment on the attempts and efforts of their predecessors to find these musical languages. For example, Schoenberg’s attempt: in its melody one can find out the exact existence of remnants of tonality; and again, the neoclassical Stravinsky, to the traditional master of his melody and harmony