《能量学》及其后的形式张力

A. Cecchi
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摘要

本文考察了“力”、“能量”和“张力”等概念在能量学(1910-1935)的音乐理论框架内的不同用法和含义。它首先比较了三位主要作者——海因里希·申克、奥古斯特·哈尔姆和恩斯特·库尔斯——的能量词汇,以测试甚至超越音调和谐的可能应用。在这方面,Kurth对“形式张力”的定义和讨论是惊人的,因为它主要涉及所谓的“次要”参数(音域、动态、乐器密度、音色),从而掩盖了旋律结构和和声过程的作用——尽管音调和谐总是存在于他分析的音乐作品中(尤其是布鲁克纳的交响曲)。文章还追溯了在库尔斯的追随者(汉斯·默斯曼和库尔特·韦斯特法尔)和不同的德语音乐理论传统的作者(雨果·莱希滕特里特,阿诺德·勋伯格,欧文·拉茨和西奥多·阿多诺)中能量概念的使用,只要他们受到能量学的影响。这些概念只与调性音乐有关,特别强调布鲁克纳和马勒的晚期浪漫主义和早期现代交响乐作品。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Formal tension in Energetics and beyond
The article examines different uses and meanings of such concepts as “force”, “energy” and “tension” within the music-theoretical framework of Energetics (1910-1935). It firstly compares the energetic vocabulary of three main authors – Heinrich Schenker, August Halm and Ernst Kurth – so as to test possible applications even beyond tonal harmony. In this respect, Kurth’s defi nition and discussion of “formal tension” is striking insofar as it mainly involves so-called “secondary” parameters (register, dynamics, instrumental density, timbre), thus overshadowing the role of melodic construction and harmonic processes – even though tonal harmony is always present in the musical works he analyses (particularly Bruckner’s symphonies). The article also retraces the use of energetic concepts both among Kurth’s followers (Hans Mersmann and Kurt Westphal) and in authors of different German-speaking music-theoretical traditions (Hugo Leichtentritt, Arnold Schoenberg, Erwin Ratz and Theodor W. Adorno) insofar as they are infl uenced by Energetics. These concepts emerge exclusively in relation to tonal music, with particular emphasis on late-romantic and early-modern symphonic works by Bruckner and Mahler.
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