Isomorphic Partitioning and Schoenberg's "Fourth String Quartet"
Isomorphic Partitioning and Schoenberg's "Fourth String Quartet"
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同构划分与勋伯格的《第四弦乐四重奏》
DOI：
10.2307/843450
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发表时间：
1984
影响因子：
1.4
通讯作者：
Schoenberg
中科院分区：
文献类型：
--
作者：
Ethan Haimo;P. Johnson;Schoenberg
在勋伯格去世后的几年里，许多音乐家声称，在方法的一致性，在整个结构的系统化，在独创性，勋伯格必须尊重韦伯恩。特别是在欧洲，作曲家们以韦伯恩为榜样，并扩展了他的十二音作品中的思想。这种对韦伯恩十二音技巧的培养在一定程度上证明了自己的合理性，因为它把勋伯格描绘成仍然沉浸在19世纪的枷锁中。例如，我们习惯于说后韦伯恩学派，而不是后勋伯格学派。一些重要的音乐和理论著作专门回应了勋伯格的挑战，逐渐纠正了这种对勋伯格贡献的看法。组合性的概念，其深远的影响，在和谐，发展和正式领域，直接来自勋伯格的作曲方法，只是一个例子。尽管他现在广泛承认的贡献，勋伯格的节奏往往仍然被视为例证，他无法摆脱自己过时的方法。然而，仔细研究他的作品，特别是第四弦乐四重奏，会发现他系统地使用节奏和分割技术来创造不变量。这类程序，我们称之为同构划分，被广泛使用，构成了
In the years after Schoenberg's death, many musicians claimed that in consistency of method, in systematization of the total fabric, and in originality, Schoenberg must defer to Webern. Particularly in Europe, composers took Webern as their model and extended ideas found in his twelve-tone works. This cultivation of Webern's twelve-tone technique justified itself in part by portraying Schoenberg as still enmeshed in nineteenth-century shackles.' We are accustomed, for instance, to speak of a post-Webern school but not of a post-Schoenberg school. The body of important music and theoretical writing responding specifically to Schoenberg's challenge has gradually corrected this view of Schoenberg's contribution. The notion of combinatoriality, with its far-reaching consequences in harmonic, developmental and formal spheres, derives directly from Schoenberg's compositional methods and is only one example. Despite his now widely acknowledged contribution, Schoenberg's rhythm is often still disdained as exemplifying his inability to free himself from outmoded methods. A careful examination of his works, however, in particular the Fourth String Quartet, will reveal systematic use of rhythmic and partitioning techniques to create invariants. Procedures of this sort, which we shall term isomorphic partitioning, are used so extensively as to constitute a major feature of the