In the different editions of the current music theory teaching books,the principles of halftone and full tone are not unified,in particular the definition of halftone and full tone.
當(dāng)前不同版本的樂(lè)理教程中,關(guān)于半音、全音分類(lèi)的原則不夠統(tǒng)一,特別是關(guān)于變化半音、變化全音的定義往往各執(zhí)己見(jiàn),莫衷一是,有的樂(lè)理教程還提出了“全音不分自然和變化,半音在十二平均律中也不分自然和變化”的觀點(diǎn)。
This article, by analyzing the characteristics and the technique, reveals the semitones, sonority, texture and micropolyphony in the work.
本文主要探討該作品中體現(xiàn)出來(lái)的半音化、音響效果機(jī)械化和模糊化、網(wǎng)狀織體及微復(fù)調(diào)寫(xiě)作技術(shù)等幾個(gè)特點(diǎn)。