从两部《小提琴协奏曲》的比较研究看十二音序列写作手法的多样性
摘要
作为“新维也纳乐派”的主要成员，勋伯格与贝尔格同为早期无调性音乐的代表，在本世纪二十年代他们又先后走上了十二音序列的创作道路。由于创作观念和个性倾向等的差异，这两位作曲家在序列写作的开始阶段即表现出各自的特征，揭示着这种写作手法的多样化。
本文从他们各自的《小提琴协奏曲》入手，通过十二音序列写法基本表现形态的分析研究来说明这种技法写作的多样性。基本序列是一首十二音序列作品的根本，所以比较首先从这里开始，以便对两部作品的差异有一个大致了解。然后从序列的纵横应用形态出发，较全面地研究了主题及旋律、总体音响——和声问题及其它要素在作品中的不同的表现形式，并把重点放在总体音响的和声处理上。主题及旋律是序列在作品中最基本的表现形式，可以通过序列的完整线形陈述、序列的分割及序列的交织与平行等方式衍生而得，且因作曲家的不同应用而千变万化。总体音响反映序列应用中的声部组织形式，其紧张度的控制则影响着序列写作的各个方面。文章从和声的基本组成部分——音高体系、和弦结构、和声进行、对位化及总体布局出发，较详细地分析了两位作曲家和声观念及表现形式的种种差异。节奏节拍、速度、力度等其它要素有时在作品中起着重要的结构作用，在论述中也有涉及。另外，勋伯格与贝尔格创作观念和个性倾向的各异也是这种多样化的一个补充说明。通过上述分析比较我们可以得出结论：勋伯格是在维护十二音序列基本规范的过程中表现出序列写法的多样化的，贝尔格则立足于序列写作，在把它同传统因素的种种结合和对十二音序列的创新过程中展示这种多样性。最后，文章还强调了两位作曲家的序列创作和传统之间的种种联系，客观地评价了这种写作手法的创新性和继承性。这样，我们就可以对序列写作的多样化有一个较为全面的认识和了解。
A. Schoenberg and A. Berg, two of the major members of the new Viennese school, were both the representatives of early atonal music. In 1920s, they began to compose with twelve-tone series early or late. Owing to their different concepts on composing and their personal individualities, these two composers showed their respective features, and brought to light the variety of this composing technique even in the early period of serial composing.
This article is based on their Violin Concertos, to show the variety of twelve-tone serial composing, by analyzing and studying the expressional forms of the .twelve-tone series. The base set is the root of a twelve-tone serial composition, therefore, the first comparison is made for it, so that we may roughly know the difference between these two concertos. Then, the article sets out with the vertical and horizontal use of base sets. To examine the different forms of themes, melodies, whole sound (harmony ) and other elements wholly, and put emphasis on harmonic treatment of the whole sound. The basically expressional forms of the base set are the themes and melodies in serial composition. They may be obtained by linear statement of the whole set, set split two or more sets mingled or moved in parallel, and, they are kaleidoscopic, according to the different uses of composers. The whole sound reflects the combination of voices in use of series, and its intention controlling affects any aspect of serial composing. With the base components of harmony-pitch system, chord combination, harmonic progression, counterpoint, and form design, this article analyzes the difference between these two composers on harmony concepts and its expressions in detail. Other elements, such as rhythm, metre, tempo, and dynamics, may play an important role in construction, so the article gives some discussions to them also. In addition, the difference of composition concepts and individualities between these two composers, is a supplementary explanation of the variety. By the analyses and comparisons mentioned above, we may draw a conclusion that they both have shown the variety of serial composing, but in different ways: while Schoenberg, in the process of upholding the basic laws of twelve-tone series, Berg, in the process of combining the traditional elements with serial composing, and making innovation on twelve-tone series. Finally, this article has also laid emphasis on the connections between the tradition and the serial composing of these two composers, appraised ingenuity and inheritance of this composing technique objectively. Thus, to the variety of serial composition, we may have a more overall recognition and understanding.
本文从他们各自的《小提琴协奏曲》入手，通过十二音序列写法基本表现形态的分析研究来说明这种技法写作的多样性。基本序列是一首十二音序列作品的根本，所以比较首先从这里开始，以便对两部作品的差异有一个大致了解。然后从序列的纵横应用形态出发，较全面地研究了主题及旋律、总体音响——和声问题及其它要素在作品中的不同的表现形式，并把重点放在总体音响的和声处理上。主题及旋律是序列在作品中最基本的表现形式，可以通过序列的完整线形陈述、序列的分割及序列的交织与平行等方式衍生而得，且因作曲家的不同应用而千变万化。总体音响反映序列应用中的声部组织形式，其紧张度的控制则影响着序列写作的各个方面。文章从和声的基本组成部分——音高体系、和弦结构、和声进行、对位化及总体布局出发，较详细地分析了两位作曲家和声观念及表现形式的种种差异。节奏节拍、速度、力度等其它要素有时在作品中起着重要的结构作用，在论述中也有涉及。另外，勋伯格与贝尔格创作观念和个性倾向的各异也是这种多样化的一个补充说明。通过上述分析比较我们可以得出结论：勋伯格是在维护十二音序列基本规范的过程中表现出序列写法的多样化的，贝尔格则立足于序列写作，在把它同传统因素的种种结合和对十二音序列的创新过程中展示这种多样性。最后，文章还强调了两位作曲家的序列创作和传统之间的种种联系，客观地评价了这种写作手法的创新性和继承性。这样，我们就可以对序列写作的多样化有一个较为全面的认识和了解。
A. Schoenberg and A. Berg, two of the major members of the new Viennese school, were both the representatives of early atonal music. In 1920s, they began to compose with twelve-tone series early or late. Owing to their different concepts on composing and their personal individualities, these two composers showed their respective features, and brought to light the variety of this composing technique even in the early period of serial composing.
This article is based on their Violin Concertos, to show the variety of twelve-tone serial composing, by analyzing and studying the expressional forms of the .twelve-tone series. The base set is the root of a twelve-tone serial composition, therefore, the first comparison is made for it, so that we may roughly know the difference between these two concertos. Then, the article sets out with the vertical and horizontal use of base sets. To examine the different forms of themes, melodies, whole sound (harmony ) and other elements wholly, and put emphasis on harmonic treatment of the whole sound. The basically expressional forms of the base set are the themes and melodies in serial composition. They may be obtained by linear statement of the whole set, set split two or more sets mingled or moved in parallel, and, they are kaleidoscopic, according to the different uses of composers. The whole sound reflects the combination of voices in use of series, and its intention controlling affects any aspect of serial composing. With the base components of harmony-pitch system, chord combination, harmonic progression, counterpoint, and form design, this article analyzes the difference between these two composers on harmony concepts and its expressions in detail. Other elements, such as rhythm, metre, tempo, and dynamics, may play an important role in construction, so the article gives some discussions to them also. In addition, the difference of composition concepts and individualities between these two composers, is a supplementary explanation of the variety. By the analyses and comparisons mentioned above, we may draw a conclusion that they both have shown the variety of serial composing, but in different ways: while Schoenberg, in the process of upholding the basic laws of twelve-tone series, Berg, in the process of combining the traditional elements with serial composing, and making innovation on twelve-tone series. Finally, this article has also laid emphasis on the connections between the tradition and the serial composing of these two composers, appraised ingenuity and inheritance of this composing technique objectively. Thus, to the variety of serial composition, we may have a more overall recognition and understanding.
引文
乔治·波尔 《序列作曲和无调性》秦元平译(《中央音乐学院学报》1989年特辑)
杨儒怀 《在继往开来的创造中展现的十二音序列技法——贝尔格〈小提琴协奏曲〉创作研究》(《中央音乐学院学报》1996年1、2期)
郑英烈 《序列音乐写作基础》上海音乐出版社，1989年版
阿·勋伯格 《和声的结构功能》茅于润译，上海文艺出版社，1981版
彼得·斯·汉森 《二十世纪音乐概论》孟宪福译，人民音乐出版社，1991年版
钱仁康 《一曲回肠十二音——贝尔格〈小提琴协奏曲〉解析》(《钱仁廉音乐文集》)，上海音乐出版社，1997年版
文森特·佩尔西凯蒂 《二十世纪和声》刘烈武译，人民音乐出版社，1989年版
恩斯特·内热内克 《十二音技法对位法研究》(《音乐译文》1980年4、5期)
于苏贤 《非序列无调性音乐的复调结构》(《中央音乐学院学报》1995年1期)
余志刚 《贝尔格研究二、三题——博士论文的序与结语》(《中央音乐学院学报》1994年3期)
鲁道夫·雷蒂 《调性、无调性、泛调性》郑英烈译，人民音乐出版社，1992年版
莫·卡纳 《当代和声》冯覃燕、孟文涛译，人民音乐出版社，1983年版
H·施图肯什密特 《二十世纪音乐》汤亚汀译，人民音乐出版社，1992年版
D·Jarman The Music of Alban Berg, 1979
H·H·Stuchenschmldt Arnold Schoenberg, New York, 1960
Lene Lelbowitz Schoenberg and His School, New York, 1949
Dika Newlin Bruckner-Mahler-Schoenberg, New York,
A·Schoenberg Style and Idea, New York, 1975
Alban Berg What Is Atonality, Vienna, 1936
Milton Babbitt Some Aspects of Twelve-Tone Composition, (from The Score, No, 12, 1955)
W·W·Austin Music in the Twentieth Century, New Yorkk. 1966
The New Grove Dictionary of Music and Musicians, 1980
The New Oxford History of Music——The Modern Age (1890～1960), 1978
杨儒怀 《在继往开来的创造中展现的十二音序列技法——贝尔格〈小提琴协奏曲〉创作研究》(《中央音乐学院学报》1996年1、2期)
郑英烈 《序列音乐写作基础》上海音乐出版社，1989年版
阿·勋伯格 《和声的结构功能》茅于润译，上海文艺出版社，1981版
彼得·斯·汉森 《二十世纪音乐概论》孟宪福译，人民音乐出版社，1991年版
钱仁康 《一曲回肠十二音——贝尔格〈小提琴协奏曲〉解析》(《钱仁廉音乐文集》)，上海音乐出版社，1997年版
文森特·佩尔西凯蒂 《二十世纪和声》刘烈武译，人民音乐出版社，1989年版
恩斯特·内热内克 《十二音技法对位法研究》(《音乐译文》1980年4、5期)
于苏贤 《非序列无调性音乐的复调结构》(《中央音乐学院学报》1995年1期)
余志刚 《贝尔格研究二、三题——博士论文的序与结语》(《中央音乐学院学报》1994年3期)
鲁道夫·雷蒂 《调性、无调性、泛调性》郑英烈译，人民音乐出版社，1992年版
莫·卡纳 《当代和声》冯覃燕、孟文涛译，人民音乐出版社，1983年版
H·施图肯什密特 《二十世纪音乐》汤亚汀译，人民音乐出版社，1992年版
D·Jarman The Music of Alban Berg, 1979
H·H·Stuchenschmldt Arnold Schoenberg, New York, 1960
Lene Lelbowitz Schoenberg and His School, New York, 1949
Dika Newlin Bruckner-Mahler-Schoenberg, New York,
A·Schoenberg Style and Idea, New York, 1975
Alban Berg What Is Atonality, Vienna, 1936
Milton Babbitt Some Aspects of Twelve-Tone Composition, (from The Score, No, 12, 1955)
W·W·Austin Music in the Twentieth Century, New Yorkk. 1966
The New Grove Dictionary of Music and Musicians, 1980
The New Oxford History of Music——The Modern Age (1890～1960), 1978