陈铭志音乐作品中复调艺术风格探索
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摘要
陈铭志先生尤擅复调音乐的编织，在他创作的大量风格独特、颇具艺术魅力的音乐作品中，复调体裁占有相当的比重，可以说这类作品也是他长期从事复调音乐的研究、著述和教学工作中经验积累的直接反映。
本文并未采取常用的研究思路，而是从作曲法的角度出发——即以音乐构成的内容为线索、以创作技法的运用为切入点——将陈先生复调音乐创作的技术内涵分别归纳在主题构成、声部组合与结构组织中详细论述，并在此基础上进一步探索陈铭志音乐作品中复调艺术的风格和特色。
论文的主体共分为三章。
第一章：主题构成。主要是从动机的衍生方式和主题的结构形式上入手，探讨陈铭志复调音乐作品中主题的构成，研究了他在长期实践中逐步形成的两种规律性的主题创作手法：“动机生成法”和“动机转移法”。
第二章：声部组合。以“对置式”和“交换式”为研究框架，归纳、分析了陈铭志复调音乐作品中处理声部组合的具体手段。本章不涉及一般性的手法，而是通过对陈先生喜而擅用的“固定低音式对置”、“调式调性对置”，以及“对称性的交换”和“追逐性的交换”等技术手段的集中论述，体现出他在创作中处理声部组合的灵活生动与精巧细腻。
第三章：结构组织。这是陈先生在创作中最注重的环节，亦为本文最重要的章节。陈铭志先生在乐曲结构组织形式上的不懈探索及取得的成果，不仅体现了他对音乐作品的形式美感与逻辑结构力的高度重视，也反映出他那旺盛的艺术创造力。本章正是以此为写作目的，列举了一些极富创新精神的实例，并深入、细致地分析了它们的创作特色。
论文的最后，除了对陈铭志先生复调音乐创作的艺术风格做了提纲式的总结外，还有就笔者在本论题的研究与写作过程中获得的启示所谈的几点感想，希望能与读者共同探讨!
Master Chen Mingzhi is expert in composing polyphony music. Among the large number of his works with unique style and great artistic charm, polyphony takes a considerable proportion which directly reflects his rich experience accumulated from the long-term study, teaching of polyphony and the compiling of theories on polyphony.
This paper has not followed the conventional train of thought. It discusses the technological connotation in Master Chen's composing of polyphony in detail in the three parts: thematic composition, combination of vocal parts, structural organization, and further explores the artistic style and characteristics in the polyphony by Chen Mingzhi from the perspective of the method of composing, that is to begin with the study of the component parts of the music and the application of composing skills.
The body of the paper includes three chapters.
Chapter one: thematic composition. This chapter starts with the derivational mode of motivation and the form of thematic structure, explores the thematic composition in the polyphony by Chen Mingzhi, studies the two regular thematic composing skills: "motive generating" and "motive transferring".
Chapter two: combination of vocal parts. This chapter takes "contraposition" and "the mode of reversion" as framework, sums up and analyzes the specific means in the combination of vocal parts in Chen Mingzhi's polyphony. However, the chapter does not involve the common techniques. It focuses on the discussion of "contraposition of the basso ostihato", "the contraposition of mode and tonality", "symmetric reversion", and "the successive reversion"-skills favorably used by Master Chen, through which the flexible and exquisite treatment to the combining of vocal parts in his composing process is displayed completely.
Chapter three: structural organization. This point receives the most attention in Master Chen's composing process. Hence, the chapter is the most important one in the paper. The persistent exploration and achievements Chen Mingzhi has made in the structural organization in his music reflect not only his strong emphasis on the formal aesthetic sense and the function of logical structure of works, but also his vigorous artistic creative power. Thus, it is the purpose of this chapter to talk about Master Chen's tries in structural organization. Some pieces containing new ideas are provided and the composing characteristics within these instances are analyzed in detail.
At the end of the paper, the author first outlines the artistic style in Master Chen Mingzhi's composing of polyphony. Then he talks about the inspiration he has got in the study of the topic and the process of writing the paper, and hopes to share with the readers.
本文并未采取常用的研究思路，而是从作曲法的角度出发——即以音乐构成的内容为线索、以创作技法的运用为切入点——将陈先生复调音乐创作的技术内涵分别归纳在主题构成、声部组合与结构组织中详细论述，并在此基础上进一步探索陈铭志音乐作品中复调艺术的风格和特色。
论文的主体共分为三章。
第一章：主题构成。主要是从动机的衍生方式和主题的结构形式上入手，探讨陈铭志复调音乐作品中主题的构成，研究了他在长期实践中逐步形成的两种规律性的主题创作手法：“动机生成法”和“动机转移法”。
第二章：声部组合。以“对置式”和“交换式”为研究框架，归纳、分析了陈铭志复调音乐作品中处理声部组合的具体手段。本章不涉及一般性的手法，而是通过对陈先生喜而擅用的“固定低音式对置”、“调式调性对置”，以及“对称性的交换”和“追逐性的交换”等技术手段的集中论述，体现出他在创作中处理声部组合的灵活生动与精巧细腻。
第三章：结构组织。这是陈先生在创作中最注重的环节，亦为本文最重要的章节。陈铭志先生在乐曲结构组织形式上的不懈探索及取得的成果，不仅体现了他对音乐作品的形式美感与逻辑结构力的高度重视，也反映出他那旺盛的艺术创造力。本章正是以此为写作目的，列举了一些极富创新精神的实例，并深入、细致地分析了它们的创作特色。
论文的最后，除了对陈铭志先生复调音乐创作的艺术风格做了提纲式的总结外，还有就笔者在本论题的研究与写作过程中获得的启示所谈的几点感想，希望能与读者共同探讨!
Master Chen Mingzhi is expert in composing polyphony music. Among the large number of his works with unique style and great artistic charm, polyphony takes a considerable proportion which directly reflects his rich experience accumulated from the long-term study, teaching of polyphony and the compiling of theories on polyphony.
This paper has not followed the conventional train of thought. It discusses the technological connotation in Master Chen's composing of polyphony in detail in the three parts: thematic composition, combination of vocal parts, structural organization, and further explores the artistic style and characteristics in the polyphony by Chen Mingzhi from the perspective of the method of composing, that is to begin with the study of the component parts of the music and the application of composing skills.
The body of the paper includes three chapters.
Chapter one: thematic composition. This chapter starts with the derivational mode of motivation and the form of thematic structure, explores the thematic composition in the polyphony by Chen Mingzhi, studies the two regular thematic composing skills: "motive generating" and "motive transferring".
Chapter two: combination of vocal parts. This chapter takes "contraposition" and "the mode of reversion" as framework, sums up and analyzes the specific means in the combination of vocal parts in Chen Mingzhi's polyphony. However, the chapter does not involve the common techniques. It focuses on the discussion of "contraposition of the basso ostihato", "the contraposition of mode and tonality", "symmetric reversion", and "the successive reversion"-skills favorably used by Master Chen, through which the flexible and exquisite treatment to the combining of vocal parts in his composing process is displayed completely.
Chapter three: structural organization. This point receives the most attention in Master Chen's composing process. Hence, the chapter is the most important one in the paper. The persistent exploration and achievements Chen Mingzhi has made in the structural organization in his music reflect not only his strong emphasis on the formal aesthetic sense and the function of logical structure of works, but also his vigorous artistic creative power. Thus, it is the purpose of this chapter to talk about Master Chen's tries in structural organization. Some pieces containing new ideas are provided and the composing characteristics within these instances are analyzed in detail.
At the end of the paper, the author first outlines the artistic style in Master Chen Mingzhi's composing of polyphony. Then he talks about the inspiration he has got in the study of the topic and the process of writing the paper, and hopes to share with the readers.
引文
1、陈铭志：《复调音乐写作基础教程》人民音乐出版社，1986年版。
2、陈铭志：《赋格曲写作》上海音乐出版社，1997年版。
3、陈铭志：《陈铭志复调论文集》上海音乐出版社，2002年版。
4、朱世瑞：《中国音乐中复调思维的形成与发展》，人民音乐出版社，1992年版。
5、郑英烈：《序列音乐写作基础》上海音乐出版社，1989年版。
6、黎英海：《汉族调式及其和声》上海音乐出版社，2001年版。
7、杨儒怀：《音乐的分析与创作》，人民音乐出版社，1997年版。
8、林华：《评陈铭志的声乐套曲——〈聊斋〉读后三则》，《音乐艺术》1991年第1期。
9、林华：《复调音乐的复兴》，《音乐艺术》1987年第1期。
10、林华：《中国与西方传统音乐的创作思维比较》，《音乐艺术》1994年第3期。
11、徐孟东：《中国复调音乐形式新的发展与变异》，《人民音乐》1998年第12期。
12、田艺苗：《陈铭志复调钢琴作品研究》，《音乐研究》2003年第1期。
13、王瑞：《陈铭志〈钢琴小品八首〉的艺术特色》，《音乐艺术》2000年第2期。
14、林海兴：《匠心巧手织〈音画〉》，《音乐艺术》1982年第1期。
15、林海兴：《盎然诗意出“绝句”——陈铭志〈钢琴小品八首〉》，《音乐艺术》1989年第3期。
16、郑英烈：《〈钢琴小品八首〉简释》(《钢琴小品八首》附录)，上海音乐出版社，1989年版。
2、陈铭志：《赋格曲写作》上海音乐出版社，1997年版。
3、陈铭志：《陈铭志复调论文集》上海音乐出版社，2002年版。
4、朱世瑞：《中国音乐中复调思维的形成与发展》，人民音乐出版社，1992年版。
5、郑英烈：《序列音乐写作基础》上海音乐出版社，1989年版。
6、黎英海：《汉族调式及其和声》上海音乐出版社，2001年版。
7、杨儒怀：《音乐的分析与创作》，人民音乐出版社，1997年版。
8、林华：《评陈铭志的声乐套曲——〈聊斋〉读后三则》，《音乐艺术》1991年第1期。
9、林华：《复调音乐的复兴》，《音乐艺术》1987年第1期。
10、林华：《中国与西方传统音乐的创作思维比较》，《音乐艺术》1994年第3期。
11、徐孟东：《中国复调音乐形式新的发展与变异》，《人民音乐》1998年第12期。
12、田艺苗：《陈铭志复调钢琴作品研究》，《音乐研究》2003年第1期。
13、王瑞：《陈铭志〈钢琴小品八首〉的艺术特色》，《音乐艺术》2000年第2期。
14、林海兴：《匠心巧手织〈音画〉》，《音乐艺术》1982年第1期。
15、林海兴：《盎然诗意出“绝句”——陈铭志〈钢琴小品八首〉》，《音乐艺术》1989年第3期。
16、郑英烈：《〈钢琴小品八首〉简释》(《钢琴小品八首》附录)，上海音乐出版社，1989年版。