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題 名 | 阿班.貝爾格從自由調性過渡至十二音音樂的「室內協奏曲」作品探討=Kammerkonzert--A Transitional Work from Free Tonality to Twelve-Tone by Alban Berg |
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作 者 | 顏綠芬; | 書刊名 | 藝術評論 |
卷 期 | 9 1998.10[民87.10] |
頁 次 | 頁27-43 |
分類號 | 912.33 |
關鍵詞 | 室內協奏曲; Berg, Alban; |
語 文 | 中文(Chinese) |
英文摘要 | Alban Berg and Anton Webern, both the important members of the Second Viennese School, were disciples of Arnold Schoenberg. This three giants were key persons of the School. They had set off the movement of transforming new music from late Romantic chromatical style, free tonality to twelve-tone in Vienna. Berg won the reputation from his opera Wozzeck, which more and less had concealed another work finished about the same time-Kammerkonzert. This composition has totally different nature. It has stepped out the expressionism, which was combined with the literature, and opened another door, to a more objective, purer instrumental music composition: also betokened the strict twelve-tone music. The theme, structure, and form of Kammerkonzert, are all related to "three": 1.Three groups of instruments--keyboard, strings, and woodwind and brass; 2.Three motto themes in the beginning, also transforming the alphabets of Schoenberg, Webern, and Berg into music notes; 3.Three movements and three main rhythmic forms. Furthermore, this concerto also includes the techniques of shorter passages of tonal character, free tonality, and composition with 12 notes in its harmony. |
本系統中英文摘要資訊取自各篇刊載內容。