Tonal Pitch Space を用いた楽曲の和声解析
Tonal Pitch Space を用いた楽曲の和声解析
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作者：
鐘期 坂本;敏 東条
为了表示相关键之间的调制程度，开发了放置所有主键和次键的圆圈。这些圆圈上的相邻运动代表了近距离的调制，而不相邻的运动代表了更远的调制。(Werts(1983)对历史进行了回顾。)这些原始的圆圈在韦伯(1824)优雅的音高空间中达到顶峰，这与勋伯格(1954)的区域图相对应。1这些拓扑模型与各种20世纪专注于实际作品结构的调性理论之间存在互补关系，如申克(1935)、迈耶(1973)、勒达尔和杰克多夫(1983，调性音乐生成理论，以下简称GTTM)。
attempting to express degrees of modulation among related keys, developed circles on which all the major and minor keys were placed. Adjacent moves on these circles represented close modulations and nonadjacent moves, more distant modulations. (Werts (1983) gives an historical review.) These primitive circles culminated in the elegant pitch space of Weber (1824), which corresponds to Schoenberg's (1954) chart of regions.1 There is a complementary relationship between these topological models and various twentieth-century tonal theories that focus on structure in actual pieces, such as Schenker (1935), Meyer (1973), and Lerdahl and Jackendoff (1983, A Generative Theory of Tonal Music, henceforth GTTM).