Modern Media Studies (Print ISSN: 3078-3151; Online ISSN: 3104-5049)

Copyright © 2025 by Modern Media Studies. All rights reserved.

MMS, Vol.1, No.1, 2025, pp.37-56

基于音级集合技术的主题音乐创作特征研究

——以吉松隆管弦乐组曲《平清盛》为例

程蔚瑄（Cheng Weixuan）[1]，杨红光（Yang Hongguang）[2]

摘要：“音级集合理论”是美国音乐理论家阿伦·福特于20世纪下半叶所提出的定量定性分析方法，对于调性音乐与无调性音乐都具有广泛的适用性。本文以日本当代著名作曲家吉松隆的管弦乐组曲《平清盛》为例，立足音级集合理论，对其中各主题音乐在结构、音高、节奏诸方面进行深入剖析，并力求对其不同形式从古典到现代的历时性综合与整体性架构的创作特征作出阐释。

关键词：管弦乐组曲《平清盛》；主题音乐创作；吉松隆三音集合；集合移位连锁；音级运动；复合型集合

Title: A Study on the Characteristics of Theme Music Creation Based on the Term of Pitch-class Set the Orchestral Suite Tairano Kiyomori by Yoshimatsu Takashi as an Example

Abstract: “Term of pitch-class set” is a quantitative and qualitative analysis method proposed by American music theorist Allan Ford in the second half of the 20th century, which has a wide range of applicability for tonal music and atonality music. Taking the orchestral suite Tairano Kiyomori by the famous contemporary Japanese composer Takashi Yoshimatsu as an example, this paper based on the theory of pitch-class set, conducts an in-depth analysis of the theme music in the structure, pitch, rhythm and other aspects, and strives to explain the diachronic synthesis and the creation characteristics of the overall structure of the different genres and techniques from classical to modern.

Keywords: Orchestral Suite Tairano Kiyomori; Thematic Music Creation; Yoshimatsu Takashi’s Three-tone Collection; Set Shift Linkage; Scale Movement; Compound Set

[1] 程蔚瑄（Cheng Weixuan），宁波大学音乐学院硕士研究生，研究方向：作曲与作曲技术理论。电邮：2119848220@qq.com。

[2] 杨红光（Yang Hongguang），宁波大学音乐学院教授，研究方向：作曲与作曲技术理论。电邮：yanghongguang@nbu.edu.cn。