The Path to the New Note
The Path to the New Note
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新笔记之路
DOI：
10.1145/3469013.3469021
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发表时间：
2021
期刊：
影响因子：
--
通讯作者：
Ballance J
中科院分区：
文献类型：
--
作者：
Ballance J
音程，即音符之间的距离，是后调性音乐分析中的一个常见话题，对于安东·韦伯恩的音乐来说，这当然是正确的。然而，对韦伯恩音乐的这一方面缺乏严格的实证分析，特别是在大规模上。相反，学术研究往往依赖于毫无根据的断言或局部现象，这些现象不一定是普遍的。本文是一个语料库的研究与作品编号韦伯恩的31个作品，使用music21分析整个语料库的音程分布和质疑共同持有的假设韦伯恩的音乐。特别是，本研究的痕迹在他的整个身体的工作，在他的音程语言的变化，评估行和由此产生的十二音音乐之间的关系，并考虑从垂直和线性的音程内容之间的相关性的角度来看，他的和声语言的整合。
Intervals, the distances between notes, are a common topic in the analysis of post-tonal music, and this is certainly true with regard to the music of Anton Webern. There is a lack, however, of rigorous empirical analysis of this aspect of Webern’s music, especially on a large scale. Scholarship has instead tended to rest on unfounded assertions or localised phenomena, which cannot necessarily be generalised. This paper is a corpus study of Webern’s 31 works with Opus numbers, using music21 to analyse the interval distributions across the corpus and interrogate commonly-held assumptions about Webern’s music. In particular, this study traces changes in his intervallic language across his body of work, assesses the relationship between rows and the resulting dodecaphonic music, and considers the integration of his harmonic language from the perspective of correlations between vertical and linear intervallic content.