乔治·克拉姆作品中的尺度歧义与韵律手势

IF 0.3 2区 艺术学 0 MUSIC
Kristina L. Knowles
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引用次数: 0

摘要

尽管对乔治·克鲁姆音乐的理论研究越来越多,但令人惊讶的是,人们对他对节奏和韵律的使用却知之甚少,这些元素通常比复杂的音高结构更容易被人听到,并构成了克鲁姆风格的一个可识别的方面。Crumb的大部分作品的特点是度量模糊性与清晰且经常重复的节奏手势的独特结合,这些手势的使用和并置创造了不同程度的度量。他的音乐的很大一部分可以位于从完全非戏剧到清晰韵律的光谱中间。其结果是形成了一种独特的韵律语言,严格避免了大规模的韵律结构,但经常使用局部的韵律手势和韵律出现的短暂时刻。然后,这些节奏和度量结构以不同的方式被用来创造一系列时间和形式效果。本文着重从乔治·克拉姆的几首作品中探讨动机的节奏性和度量性特征。重点将放在Crumb的Vox Balaenae的最后一个乐章中一个特别有趣的例子上,在这个例子中,一小部分节奏动机的重复和变化的音乐背景导致了韵律的出现和分解过程,这有助于作品的拱形。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Metric Ambiguity and Rhythmic Gesture in the Works of George Crumb
Despite a growing body of theoretical work on the music of George Crumb, surprisingly little has been said about his use of rhythm and metre, elements which are often more aurally accessible than complex pitch structures and which constitute a recognisable aspect of Crumb’s style. Much of Crumb’s output is characterised by a unique combination of metric ambiguity with clear and often recurrent rhythmic gestures whose use and juxtaposition creates varying levels of metricity. A significant portion of his music can then be situated in the middle of a spectrum that ranges from completely non-metrical to clearly metrical. The result is a unique rhythmic language that stringently avoids large-scale metrical structures but makes frequent use of localised metrical gestures and brief moments of metrical emergence. These rhythmic and metric structures are then used in different ways to create a range of temporal and formal effects. This paper focuses on the rhythmic and metric characteristics of motives from several pieces by George Crumb. Emphasis will be placed on a particularly interesting case in the final movement from Crumb’s Vox Balaenae, where the repetition and shifting musical context of a small set of rhythmic motives results in a process of metrical emergence and dissolution that contributes to the arch form of the piece.
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来源期刊
CiteScore
1.00
自引率
25.00%
发文量
48
期刊介绍: Contemporary Music Review provides a forum for musicians and musicologists to discuss recent musical currents in both breadth and depth. The main concern of the journal is the critical study of music today in all its aspects—its techniques of performance and composition, texts and contexts, aesthetics, technologies, and relationships with other disciplines and currents of thought. The journal may also serve as a vehicle to communicate documentary materials, interviews, and other items of interest to contemporary music scholars. All articles are subjected to rigorous peer review before publication. Proposals for themed issues are welcomed.
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