论文部分内容阅读
1958年之后利盖蒂只为现场演奏方式进行创作,但他的这种“常规”创作观念非常明显地受到当时十分盛行的电子音乐的影响。首先,利盖蒂采用声部细分的方式创作大型管弦乐队作品,从而精确地预制作品的音响。这种精确的预制性具有电子音乐思维特征。其次,在声部细分的基础上采用密集对位的方式,形成一种以“微起伏”状态向前推进的“音响流”。在纵向上形成多个音符叠置在一起的类似“噪音”的音响。这种噪音实质上是以传统演奏的方式制造了非乐音的效果。利盖蒂作品中的时间因素已经大大突破了传统的以速度、节拍、节奏型进行记谱的方式所蕴含的意义。
After 1958, Ligeti only created works for live performances, but his “conventional” creative ideas were obviously influenced by the prevailing electronic music at that time. First of all, Ligeti uses subdivisions to create large orchestral pieces that accurately prefabricate the work. This precise preconditioning features electronic music thinking. Secondly, on the basis of the subdivision of the part, intensive alignment is used to form a “sound stream ” moving in a state of “micro fluctuation”. In the vertical direction, a number of “” noise sounds like “notes” stacked together. This kind of noise essentially creates the effect of non-musical sound in the traditional manner of playing. The time factor in the works of Li Geti has greatly exceeded the meaning implied by the traditional way of notation by speed, tempo and rhythm.