atonality

简明释义

英[ˌeɪtəʊˈnæləti]美[ˌeɪtoʊˈnæləti]

n. 无调性

英英释义

单词用法

同义词

反义词

例句

1."Wozzeck" is the first opera written by Alban Berg with the technique of Atonality; the script is adapted from the German realism pioneer Georg Buchner 's drama of the same title.

《沃采克》是阿尔班·贝尔格第一部用无调性技法写成的歌剧，脚本改编自德国现实主义戏剧先驱毕希纳的同名戏剧。

2."Wozzeck" is the first opera written by Alban Berg with the technique of Atonality; the script is adapted from the German realism pioneer Georg Buchner 's drama of the same title.

《沃采克》是阿尔班·贝尔格第一部用无调性技法写成的歌剧，脚本改编自德国现实主义戏剧先驱毕希纳的同名戏剧。

3.Idea and imagination are reciprocal causation. On the on hand, an abstract music image is created by the atonality and complex playing skills.

乐-曲所表达的意与象二者互为因果，一方面利用无调性以及混合的演奏技法表达充满想像的、-抽象的音乐形象。

4.His basic musical idioms were based on the tradition of tonality, but he also, if necessary, resorted to dissonances and occasional atonality.

他的音乐语言根基是传统的、有调性的，但为了表现的需要也使用不协和音响与偶然的无调性。

5.Schoenberg used atonality in the music of his middle period.

桑伯格在中期用无调性方式作曲。

6.Many contemporary composers explore atonality 无调性 in their works to break away from traditional harmonic structures.

许多当代作曲家在他们的作品中探索无调性 无调性，以摆脱传统和声结构。

7.The use of atonality 无调性 can create a sense of disorientation in the listener.

使用无调性 无调性可以给听众带来一种迷失感。

8.In the early 20th century, atonality 无调性 emerged as a radical departure from the tonal music of the past.

在20世纪初，无调性 无调性作为一种激进的脱离过去调性音乐的表现形式出现。

9.Some listeners find atonality 无调性 challenging because it lacks a clear tonal center.

一些听众发现无调性 无调性具有挑战性，因为它缺乏明确的音调中心。

10.The composer’s latest symphony features sections of atonality 无调性 that contrast sharply with more melodic passages.

这位作曲家的最新交响曲包含了与更旋律化段落形成鲜明对比的无调性 无调性部分。

作文

Atonality is a term that refers to music that lacks a tonal center or key. This concept emerged in the early 20th century as composers began to explore new ways of creating music that diverged from traditional Western tonal systems. In this essay, I will discuss the significance of atonality (无调性) in the evolution of modern music, its characteristics, and its impact on both composers and listeners. The move towards atonality (无调性) was largely influenced by the desire for artistic freedom. Composers like Arnold Schoenberg, Alban Berg, and Anton Webern were at the forefront of this movement. They sought to break away from the constraints of conventional harmony and explore new musical languages. This shift was not merely a rejection of tonality; rather, it was an exploration of sound in its purest form. Atonality (无调性) allowed composers to express complex emotions and ideas without being tied to traditional melodic structures. One of the defining features of atonality (无调性) is the absence of a central pitch around which the music revolves. In tonal music, melodies typically resolve to a home note, creating a sense of stability and expectation. However, in atonal (无调性) compositions, there is no such resolution. Instead, all pitches are treated equally, leading to a more chaotic and unpredictable listening experience. This can be both challenging and liberating for listeners, as it requires them to engage with the music in a different way. The impact of atonality (无调性) on the music world has been profound. It has paved the way for various avant-garde movements and has influenced countless genres, including jazz, electronic music, and even popular music. For instance, the improvisational nature of jazz often embraces atonal (无调性) elements, allowing musicians to experiment with dissonance and unconventional scales. Similarly, many contemporary composers incorporate atonality (无调性) into their works, reflecting the complexities of modern life and the diverse experiences of individuals. Despite its revolutionary nature, atonality (无调性) has faced criticism over the years. Some argue that it alienates listeners who are accustomed to the familiarity of tonal music. The lack of a clear structure can make it difficult for audiences to connect with the music emotionally. However, proponents of atonality (无调性) argue that this very challenge is what makes it worthwhile. It encourages listeners to expand their musical horizons and develop a deeper understanding of sound and its possibilities. In conclusion, atonality (无调性) represents a significant departure from traditional musical forms, offering a new lens through which to experience and appreciate music. Its emergence has transformed the landscape of modern music, inviting both composers and listeners to explore the rich tapestry of sound beyond the boundaries of tonality. As we continue to navigate the complexities of contemporary life, the relevance of atonality (无调性) remains ever-present, reminding us that music can be a powerful medium for expressing the inexpressible.

无调性是一个指缺乏音调中心或调性的音乐术语。这个概念在20世纪初出现，当时作曲家开始探索与传统西方调性体系背道而驰的新音乐创作方式。在这篇文章中，我将讨论无调性在现代音乐演变中的重要性、其特征以及对作曲家和听众的影响。 向无调性转变在很大程度上受到艺术自由愿望的影响。阿诺德·勋伯格、阿尔班·贝尔格和安东·韦伯恩等作曲家是这一运动的先锋。他们试图摆脱传统和声的束缚，探索新的音乐语言。这种转变不仅仅是对调性的拒绝；相反，它是对声音本质的探索。无调性使作曲家能够在不受传统旋律结构约束的情况下表达复杂的情感和思想。 无调性的一个定义特征是缺乏围绕音乐旋转的中央音高。在调性音乐中，旋律通常会回归到一个主音，创造出一种稳定性和期待感。然而，在无调性作品中，没有这样的解决方案。相反，所有音高被平等对待，导致一种更混乱和不可预测的听觉体验。这对于听众来说既具有挑战性又具有解放性，因为它要求他们以不同的方式与音乐互动。 无调性对音乐界的影响深远。它为各种前卫运动铺平了道路，并影响了无数流派，包括爵士乐、电子音乐甚至流行音乐。例如，爵士乐的即兴性质通常接受无调性元素，使音乐家能够实验不和谐音和非常规音阶。同样，许多当代作曲家在他们的作品中融入无调性，反映出现代生活的复杂性和个人的多样经历。 尽管具有革命性，无调性多年来面临批评。一些人认为，它使习惯于调性音乐的听众感到疏离。缺乏清晰的结构可能使听众难以在情感上与音乐产生联系。然而，无调性的支持者则认为，这种挑战正是其值得的地方。它鼓励听众拓宽音乐视野，深入理解声音及其可能性。 总之，无调性代表了对传统音乐形式的重大偏离，提供了一种新的视角，让我们体验和欣赏音乐。它的出现改变了现代音乐的格局，邀请作曲家和听众探索超越调性边界的丰富声音画卷。随着我们继续应对当代生活的复杂性，无调性的重要性依然存在，提醒我们音乐可以成为表达无法言喻之事的强大媒介。