奏鸣曲式中调性结构对紧张感的影响——以莫扎特与贝多芬钢琴奏鸣曲为例

doi:10.3724/SP.J.1042.2021.00218

心理科学进展 ›› 2021, Vol. 29 ›› Issue (2): 218-224.doi: 10.3724/SP.J.1042.2021.00218

奏鸣曲式中调性结构对紧张感的影响——以莫扎特与贝多芬钢琴奏鸣曲为例

车新春¹^,²^,³, 孙丽君¹, 马小龙¹^,², 杨玉芳¹()

¹中国科学院心理研究所行为科学重点实验室, 北京 100101
²中国科学院大学心理学系,北京 100049
³南昌航空大学音乐学院, 南昌 330063

收稿日期:2020-06-10 出版日期:2021-02-15 发布日期:2020-12-29
通讯作者: 杨玉芳 E-mail:yangyf@psych.ac.cn
基金资助:
国家自然科学基金项目(31470985);国家自然科学基金项目(31971034);中国博士后科学基金项目(Y9BH032001);江西省教育科学“十三五”规划项目(17YB120)

The influence of tonal structure on tension experience in sonata pieces by Mozart and Beethoven

CHE Xinchun¹^,²^,³, SUN Lijun¹, MA Xiaolong¹^,², YANG Yufang¹()

¹CAS Key Laboratory of Behavioral Science, Institute of Psychology, Chinese Academy of Sciences, Beijing 100101, China
²Department of Psychology, University of Chinese Academy of Sciences, Beijing 100049, China
³School of Music, Nanchang Hangkong University, Nanchang 330063, China

Received:2020-06-10 Online:2021-02-15 Published:2020-12-29
Contact: YANG Yufang E-mail:yangyf@psych.ac.cn

摘要/Abstract

摘要：

音乐紧张感是音乐聆听的基础与重要环节。本研究选取莫扎特与贝多芬的音乐作品, 运用紧张感模型计算与行为实验两种方法, 探讨奏鸣曲式中的调性结构对紧张感的影响。研究发现, 奏鸣曲中呈示部、展开部与再现部三部分的紧张感变化具有差异, 展开部的紧张感高于呈示部与再现部, 再现部的紧张感高于呈示部, 这源于转调距离与转调频率的差异。本研究探讨了在大尺度的真实音乐作品中调性结构对紧张感的影响, 为音乐学领域的研究提供佐证和新的视角。

关键词: 调性结构, 紧张感, 奏鸣曲式, 莫扎特, 贝多芬

Abstract:

Musical tension is the basis of musical listening. In this study, we calculated tension values based on Tonal Tension Model and conducted behavioral experiment to explore the influence of tonal structure on tension experience in sonata compositions by Mozart and Beethoven. The sonata form is composed of three parts: exposition, development and recapitulation. Our results revealed that both of the tension values and tension experience in development were higher than that in exposition and recapitulation, and higher in recapitulation than in exposition. This might be due to the differences of the distance and frequency on tonal modulations in the three parts. Our study investigated the influence of tonal structure on musical tension in large-scale music works, providing evidence and new perspectives for the study of musicology.

Key words: tonal structure, tension, sonata form, Mozart, Beethoven

中图分类号:

B842

车新春, 孙丽君, 马小龙, 杨玉芳. (2021). 奏鸣曲式中调性结构对紧张感的影响——以莫扎特与贝多芬钢琴奏鸣曲为例. 心理科学进展 , 29(2), 218-224.

CHE Xinchun, SUN Lijun, MA Xiaolong, YANG Yufang. (2021). The influence of tonal structure on tension experience in sonata pieces by Mozart and Beethoven. Advances in Psychological Science, 29(2), 218-224.

图/表 2

图1 莫扎特(A)与贝多芬(B)奏鸣曲的延长还原结构。a是延长还原结构中, 该音乐事件对上一层级音乐事件紧张感的继承值; b是音高空间模型中, 该音乐事件与上一层级音乐事件的距离值; c是表层紧张感模型中, 该音乐事件的协和程度; d是倾向模型中, 该音乐事件对紧邻的下一个音乐事件的倾向值。

图2 莫扎特(A)与贝多芬(B)奏鸣曲的模型计算与行为评价结果。横坐标表示以秒为单位的音乐时间进程, 纵坐标表示经过Z分数转换之后的紧张感评分。

参考文献 29

[1]	丁旭东. (2010, 1月). 哲学辨证观念在奏鸣曲式发展中的体现. 黄钟(武汉音乐学院学报), (1), 50-62.
[2]	杨燕迪. (2017, 10月). 贝多芬钢琴奏鸣曲:风格演进与精神成长的“三级跳”. 钢琴艺术, (10), 4-10.
[3]	张金璐, 吴莹莹, 杨晓虹, 杨玉芳. (2014). 话题结构对语篇情绪累加的影响. 心理科学, 37 (6), 1282-1290.
[4]	邹彦. (2018, 3月). 历史语境中的贝多芬《f小调第一钢琴奏鸣曲》(Op.2/1)的主题分析. 音乐艺术(上海音乐学院学报), (1), 62-75.
[5]	Belkin, A. (2018). Musical composition: Craft and art. New Haven, CT: Yale University Press.
[6]	Berry, W. (1976). Structural functions in music. Englewood Cliffs, NJ: Prentice-Hall. ( Reprinted New York: Dover, 1987).
[7]	Bigand, E., Parncutt, R., & Lerdahl, F. (1996). Perception of musical tension in short chord sequences: The influence of harmonic function, sensory dissonance, horizontal motion, and musical training. Perception & Psychophysics, 58(1), 125-141.
[8]	Bigand, E., & Parncutt, R. (1999). Perceiving musical tension in long chord sequences. Psychological Research, 62(4), 237-254. URL pmid: 10652864
[9]	Eisen, C., & Sadie, S. (2001). (Johann Chrysostom) Wolfgang Amadeus Mozart. In S. Sadie & J. Tyrrell (Eds.), The new Grove dictionary of music and musicians (2th ed., Vol. 17, pp.276-350). London: Macmillan.
[10]	Farbood, M. M., & Finn, U. (2013). Interpreting expressive performance through listener judgments of musical tension. Frontiers in Psychology, 4, 993. doi: 10.3389/fpsyg.2013.00993 URL pmid: 24421778
[11]	Farbood, M. M., & Price, K. C. (2017). The contribution of timbre attributes to musical tension. Journal of Acoustical Society of America, 141(1), 419-427.
[12]	Faul, F., Erdfelder, E., Lang, A.-G., & Buchner, A. (2007). GPower 3: A flexible statistical power analysis program for the social, behavioral, and biomedical sciences. Behavior Research Methods*, 39(2), 175-191. URL pmid: 17695343
[13]	Granot, R. Y., & Eitan, Z. (2011). Musical tension and the interaction of dynamic auditory parameters. Music Perception: An Interdisciplinary Journal, 28(3), 219-246.
[14]	Hindemith, P. (1937). The craft of musical composition (Vol. 1). New York: Belwin-Mills.
[15]	Ilie, G., & Thompson, W. (2006). A comparison of acoustic cues in music and speech for three dimensions of affect. Music Perception: An Interdisciplinary Journal, 23(4), 319-330.
[16]	Kerman, J., Tyson, A., Burnham, S. G., Johnson, D., & Drabkin, W. (2001). Beethoven, Ludwig van. In S. Sadie & J. Tyrrell (Eds.), The new Grove dictionary of music and musicians (2th ed., Vol.3, pp. 73-140). London: Macmillan.
[17]	Lehne, M., Rohrmeier, M., Gollmann, D., & Koelsch, S. (2013). The influence of different structural features on felt musical tension in two piano pieces by Mozart and Mendelssohn. Music Perception, 31(2), 171-185.
[18]	Lerdahl, F., & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press.
[19]	Lerdahl, F., & Krumhansl, C. L. (2007). Modeling tonal tension. Music Perception, 24(4), 329-366.
[20]	Lockwood, L. (2005). Beethoven: The music and the life. New York: W. W. Norton & Company.
[21]	Résibois, M., Rotgé, J-Y., Delaveau, P., Kuppens, P., van Mechelen, I., & Fossati, P., & Verduyn, P. (2018). The impact of self-distancing on emotion explosiveness and accumulation: An FMRI study. Plos One, 13(11). https://doi.org/10.1371/journal.pone.0206889 doi: 10.1371/journal.pone.0207798 URL pmid: 30500845
[22]	Rosen, C. (1997). The classical style: Haydn, Mozart, Beethoven (Exp. Ed.). New York: W. W. Norton & Company, Inc.
[23]	Steinbeis, N., Koelsch, S., & Sloboda, J. A. (2006). The role of harmonic expectancy violations in musical emotions: Evidence from subjective, physiological, and neural responses. Journal of Cognitive Neuroscience, 18(8), 1380-1393. URL pmid: 16859422
[24]	Sun, L., Feng, C., & Yang, Y. (2020). Tension experience induced by nested structures in music. Frontiers in Human Neuroscience, 14, 210. URL pmid: 32670037
[25]	Swafford, J. (2014). Beethoven: Anguish and triumph. Boston: Houghton Mifflin Harcourt.
[26]	Toiviainen, P., & Krumhansl, C. L. (2003). Measuring and modeling real-time responses to music: The dynamics of tonality induction. Perception, 32(6), 741-766. doi: 10.1068/p3312 URL pmid: 12892434
[27]	Webster, J. (2001). Sonata form. In S. Sadie & J. Tyrrell (Eds.), The new Grove dictionary of music and musicians (2th ed., Vol. 23, pp. 687-701). London: Macmillan.
[28]	Williams, L. R., Fredrickson, W. E., & Atkinson, S. (2011). Focus of attention to melody or harmony and perception of music tension: An exploratory study. International Journal of Music Education, 29, 72-81.
[29]	Woolhouse, M. (2009). Modelling tonal attraction between adjacent musical elements. Journal of New Music Research, 38(4), 357-379.

奏鸣曲式中调性结构对紧张感的影响——以莫扎特与贝多芬钢琴奏鸣曲为例

The influence of tonal structure on tension experience in sonata pieces by Mozart and Beethoven

RichHTML

PDF (PC)

可视化

摘要/Abstract

引用本文

使用本文

图/表 2

参考文献 29

相关文章 1

编辑推荐

Metrics

本文评价