李斯特晚期作品分析

1、A Pioneer of Impressionist MusicThe Analysis of the Later Works of Liszt印象主義音樂(lè)的先聲李斯特晚期作品分析As a pianist, composer, conductor, music educator and social activist in Hungary,Franz Liszt was one of the people whose businesses were most brilliant during the Romanticism period.Well known in the history of

2、 Western music, Liszts music ideas and practices were famous for originality and prospective , especially his later piano works were different from the past in quality.Today, I report on the topic of Liszts late piano works after the 1860s, while the focal point is his creation after the 1880s, with

3、 emphasis on analysis and research of harmony and musical form ,and compare his creative techniques with 20th century impressionist piano works.匈牙利鋼琴家、作曲家、指揮家、音樂(lè)教育家和社會(huì)活動(dòng)家Franz Liszt是浪漫主義時(shí)期事業(yè)最輝煌的人之一。眾所周知在西方音樂(lè)史上，Liszt的音樂(lè)創(chuàng)作思想與實(shí)踐以原創(chuàng)性和前瞻性著稱(chēng)，特別是其晚期鋼琴作品具有與以往不同的品質(zhì)。今天，我報(bào)告的主題就以Liszt晚期即19世紀(jì)60年代以后的鋼琴作品為研究對(duì)象，而重心

4、是其80年代以后的創(chuàng)作，重點(diǎn)在分析和研究和聲與曲式，并將其創(chuàng)作技法與20世紀(jì)印象派的鋼琴作品相比較。From the early quest of virtuoso playing and the middle exploration of program music, to seeking solace in religious music later, the focus of Liszt's musical career changed greatly.Comparing with the previous works,his later works were very diff

5、erent, the musical language became bitter, and used a series of unconventional techniques as a form of expression，which was not only relating to his courage to reform, respected and innovative musical ideas,but also connecting with Liszt's ill-fated destiny. Consistent with the vast majority of

6、romanticists , Liszt insisted the theory called heteronomy of musical aesthetic. Although this concept hadnt been used as a special aesthetic terminology, most of the composers of this period considered that music performed something other than pure tone, the content of music was an expression of em

7、otion. So most people with romantic ideals advocated subjective feelings of expression, full of love of nature and fantasy of the future. So whether they were virtuoso playing skills, or techniques to subvert the traditional composition, in Liszts opinion, which was the need to express themselves. F

8、rom this perspective, the difference between Liszt's musical language during his early and later period was ultimately a change of his inner feelings in his outward manifestation.從早期對(duì)演奏炫技的追求，到中期對(duì)標(biāo)題音樂(lè)的探索，再到晚期在宗教音樂(lè)中尋求安慰，Liszt音樂(lè)生涯的重心轉(zhuǎn)變很大。與前期作品相比，他的晚期作品大相勁庭，音樂(lè)語(yǔ)言變得苦澀，并且采用一系列突破傳統(tǒng)的技法作為內(nèi)容表達(dá)的形式。這與他勇于革新。推

9、崇創(chuàng)新的音樂(lè)理念有關(guān)，也與其命運(yùn)多舛有關(guān)。與絕大多數(shù)浪漫主義者相一致的是，Liszt堅(jiān)持著音樂(lè)美學(xué)上的他律論（heteronomy）。雖然這一概念當(dāng)時(shí)還未被作為一個(gè)專(zhuān)門(mén)的美學(xué)術(shù)語(yǔ)來(lái)使用，但是這一時(shí)期的作曲家們大多都認(rèn)為音樂(lè)表現(xiàn)著純音響以外的某種東西，音樂(lè)的內(nèi)容是情感的表達(dá)。因此多數(shù)浪漫主義者均崇尚主觀感情的抒發(fā)，充滿(mǎn)對(duì)自然的熱愛(ài)和對(duì)未來(lái)的幻想。因此無(wú)論是炫技性的演奏技巧，還是顛覆傳統(tǒng)的作曲技法，在Liszt看來(lái)，這都是為表達(dá)內(nèi)心的需要。從這個(gè)角度看，Liszt早期與晚期音樂(lè)語(yǔ)言的差異，歸根結(jié)底是他內(nèi)心感情變化的外在表現(xiàn)。In Liszts later years,he mainly lived

10、 in Rome of Italy , Weimar of Germany, and Budapest of Hungary, spending most energy on music education and art management. However, the failure of saving Romes religious music , monotonous teaching life in Weimar, and the disappointment of declining in liberty and progressive ideas around the Hunga

11、rian national led Liszt pessimistic attitude toward life in his later years, such a pessimistic thought became a deep reason why his later music color had a significant change. In this process, Liszt demonstrated loneliness and pessimistic feelings and thoughts through constantly innovative techniqu

12、es of music. While the ambitious musical genre and structure were spreading around the World, Liszt avoided the previously epic genre with grand drama concept, steering exploration to plain, simple piano ditty. By focusing on portraying life in family matters, to bare the inner world of the self.晚年的

13、Liszt基本上在意大利的羅馬、德國(guó)的魏瑪和匈牙利的布達(dá)佩斯生活，主要精力花在音樂(lè)教育與藝術(shù)管理方面。然而挽救羅馬宗教音樂(lè)的失敗，魏瑪單調(diào)的教學(xué)生活，對(duì)匈牙利民族自由與進(jìn)步思想衰微的失望，導(dǎo)致了Liszt晚年悲觀的生活態(tài)度，這種悲觀的思想成為他晚期音樂(lè)色彩發(fā)生重大變化的深層原因。在這個(gè)過(guò)程中，Liszt通過(guò)不斷創(chuàng)新的音樂(lè)技法表現(xiàn)了情感和思想的孤寂與悲觀。當(dāng)宏大的音樂(lè)體裁與結(jié)構(gòu)形式正傳向世界時(shí)，Liszt卻避開(kāi)了以往具有宏大戲劇構(gòu)思的史詩(shī)性的體裁，轉(zhuǎn)向?qū)闼?、?jiǎn)潔的鋼琴小曲的探索。通過(guò)注重刻畫(huà)生活中的凡人瑣事，以袒露自我的內(nèi)心世界。Parallel progression which consi

14、st of the fifth interval and augmented third chord， non-overlapping three degrees chord structure，using pentatonic scale and whole-tone scale to create effects, these harmonic techniques appeared in large numbers in Liszt's late works.Liszt faded the strong contrast to the structure of the song

15、structure, emphasizing the unity and random development of the music, often using single structure, parallel structure,freedom structure,etc. However, the innovative spirit of Liszt had not been recognized, some bad words such as "maverick", "trick" often attacked him. Schumann f

16、irst thought, there was a great disparity between Liszt's piano talent and creative talent, Balzac criticized more sharply: "Liszt is a unique piano genius, he can rival Paganini, but he dont have creative talent , he only has fingers. "Liszt once compared himself to a fireworks maker,

17、 when he put the most gorgeous fireworks to people, he found that these people actually were blind, of course, finally, he added, those blind viewers might restore their visions one day through the help of God .五度音程、增三和弦等組成的平行進(jìn)行，非三度疊置的和弦結(jié)構(gòu)，運(yùn)用五聲音階、全音音階來(lái)營(yíng)造效果，這些和聲技法大量出現(xiàn)在Liszt的晚期作品中。在樂(lè)曲結(jié)構(gòu)上淡化強(qiáng)烈的對(duì)比結(jié)構(gòu)，強(qiáng)調(diào)樂(lè)曲

18、的統(tǒng)一性與隨意發(fā)展性，常運(yùn)用單一結(jié)構(gòu)、平行結(jié)構(gòu)自由結(jié)構(gòu)等。然而，Liszt的革新精神并沒(méi)有得到認(rèn)可，“標(biāo)新立異”“故弄玄虛”的帽子時(shí)常被扣在他頭上。舒曼第一個(gè)認(rèn)為，Liszt的鋼琴演奏才能與創(chuàng)作才能相差懸殊，巴爾扎克更加尖銳：“Liszt是得天獨(dú)厚的鋼琴天才，他可以和帕格尼尼媲美，可是創(chuàng)作天分他是沒(méi)有的，他只有手指?！盠iszt曾把自己比為一個(gè)煙火匠，當(dāng)自己把最絢爛的煙火放給被人看時(shí)，卻發(fā)現(xiàn)這些人竟然都是瞎子，當(dāng)然最后他補(bǔ)充了一句，那些瞎眼的觀眾也許有朝一日受上天之佑會(huì)恢復(fù)視力的。First of all,I want to talk about the genre tendencies.首先

19、我想談?wù)撘幌麦w裁傾向。The main theme of Liszts later piano works was divided into two categories: the first category was the natural scenery theme, such as Nuages Gris which I had just played. The other was the subject about the death , such as Csardas Macabre, La lugubre Gondol no2, Mephisto WalzerNO.4 ,Bafat

20、elle and sans tonalite which I had just played. Many Liszts later piano works were labeled title, and undertook the mission of depicting theme and performing emotion to some extent.Liszt晚期鋼琴作品題材主要分為兩類(lèi)：第一類(lèi)是自然景物題材，例如剛才我所演奏的Nuages Gris。另一類(lèi)是死亡題材，例如我剛演奏的Csardas Macabre、La lugubre Gondol no2、Mephisto Walz

21、erNO.4和Bafatelle、sans tonalite。Liszt晚期的諸多鋼琴作品都冠以標(biāo)題，并在一定程度上承擔(dān)了主題描繪與情感表現(xiàn)的使命。Harmony和聲Comparing with the previous,Liszt's later piano works underwent a qualitative change . He attached importance to color changes of instruments and novel stimuli of harmony ,carrying on a bold attempt and innovation

22、 on layout and setup of harmony and tonality , virtuoso effects and structural factors were in the back seat. Non-functional harmonic progression, extensive use of dissonant intervals and chords and other techniques became important means of his writing. Color factors dominated the harmonic structur

23、e, function of the former tonality and chord structure was weaken in principle, the role of dissonant intervals had changed, that was, the using of dissonant intervals was entirely determined by its color value. It was inevitably reminiscent of some compositional techniques of the Impressionist musi

24、c during 20th century: Non-third stacked chord structure, independent dissonant harmony, polyphony harmony,the use of additional sound, the parallel progression of various types chords, functional harmony layout, unexpected termination style, unique harmony expansion method, and so on.Liszt晚期的鋼琴作品與前

25、期相比發(fā)生了質(zhì)的變化。他重視樂(lè)器的色彩變化與和聲的新穎刺激，在和聲與調(diào)性的設(shè)置與布局上進(jìn)行了大膽的嘗試與創(chuàng)新，炫技效果和結(jié)構(gòu)因素退居其次。非功能性的和聲進(jìn)行、不協(xié)和音程與和弦的大量運(yùn)用等技法成為他寫(xiě)作的重要手段。色彩性因素統(tǒng)治著和聲的結(jié)構(gòu)，從前的調(diào)性與和弦結(jié)構(gòu)的功能原則削弱，不協(xié)和音的作用發(fā)生了變化，即不協(xié)和音的采用完全由它的色彩價(jià)值而定。這不免讓人聯(lián)想到20世紀(jì)印象主義音樂(lè)的一些作曲技法：非三度疊置的和弦結(jié)構(gòu)、獨(dú)立的不協(xié)和和聲、復(fù)調(diào)和聲、附加音的運(yùn)用、各類(lèi)和弦的平行進(jìn)行、給功能性的和聲布局、意外的終止式、特有的和聲展開(kāi)方法等等。For using a very dissonant tri-t

26、one of traditional harmony concept (augmented fourth interval and diminished fifth interval), composers before the 20th century were very cautious, rarely placing them on an important position in their works, most of them were given resolution. However, these dissonant intervals had been liberated b

27、y the Impressionist composer's pen. For example, in the beginning of the Bagatelle sans tonalite, a large number of tri-tones emerged, for the performance of Mephistos evil appearance image.對(duì)于傳統(tǒng)和聲觀念中極不協(xié)和的三全音(即增四度音程與減五度音程)之運(yùn)用，20世紀(jì)之前的作曲家門(mén)都十分謹(jǐn)慎，很少將其置于作品的重要位置，大多給予解決。然而這類(lèi)不協(xié)和音程則在印象派作曲家的筆下得到解放。例如在Bagat

28、elle sans tonalite的開(kāi)頭出現(xiàn)了大量的三全音，以用于表現(xiàn)Mephisto邪惡的出場(chǎng)形象。Wagner created a new situation of chromatic harmony in Terry Constance and Isolde"overture, which became the focus of the later Romantic harmony techniques, and was gradually towards the 20th centurys atonal territory. As a close friend of Wag

29、ner, Liszt used chromatic approach to respond in many works. For example, in La lugubre Gondol no2 , Liszt intended to depict gloomy funeral scene and his inner fear of death through chromatic interval to strong the dissonance of sound .瓦格納在特里坦斯與伊索爾德序曲中開(kāi)創(chuàng)了半音和聲的新境地，這即成為浪漫主義晚期和聲技法的焦點(diǎn)，有逐漸引向了20世紀(jì)無(wú)調(diào)性的疆域。

30、作為瓦格納的密友，Liszt在眾多作品中運(yùn)用半音手法加以回應(yīng)。例如在La lugubre Gondol no2中，Liszt有意通過(guò)半音音程增強(qiáng)音響的不協(xié)和性，以描繪陰森的葬禮場(chǎng)面，以及自己對(duì)死亡的內(nèi)心恐懼。Augmented triads became Liszt's favorite chords in his later music works.As the core of building a song, the chords throughout Nuages Gris were in the form of Sequence. Debussy and Stravinsky

31、much appreciated this song later.增三和弦的成為L(zhǎng)iszt晚期音樂(lè)創(chuàng)作中偏愛(ài)的和弦，作為構(gòu)建樂(lè)曲的主要核心要素，該和弦以模進(jìn)的形式呈現(xiàn)貫穿于Nuages Gris中。后來(lái)德彪西和斯特拉文斯基都對(duì)此曲大加贊賞。Fourth overlapped chord structure was the common harmony practice using by the 20th centurys Impressionist composers and other composers such as Bartok. This new harmony structure

32、helped evoke mood, atmosphere and emotion, having a different kind of stimulation. Some Liszts later piano works pioneered the use of this type of chords. For example, the beginning of Nuages Gris began with DG- # C and appeared in the ninth section in the form of column.四度疊置的和弦結(jié)構(gòu)是20世紀(jì)印象主義作曲家以及其后巴托克

33、等作曲家常用的和聲手法。這種新型的和聲結(jié)構(gòu)有助于喚起意境、氣氛與情感，有一種別樣的刺激。Liszt晚期的一些鋼琴作品中開(kāi)拓性的使用了這一類(lèi)和弦。例如Nuages Gris的開(kāi)頭以D-G-#C開(kāi)始，并且在第九小結(jié)以柱狀的形式出現(xiàn)。From the perspective of traditional harmony, parallel progression might be one of the most monotonous forms. However, it became a hot musical expression of the 20th century Impressionist

34、 composers , the reason was that parallel progression owned peculiar sense of open and flow, being able to demonstrate instant changes of color and tone, themes and contents of services and works.從傳統(tǒng)和聲角度來(lái)看，平行進(jìn)行或許是最單調(diào)的形式之一。然而它成為20世紀(jì)印象主義作曲家炙手可熱的音樂(lè)表達(dá)方式，原因在于平行進(jìn)行所特有的空曠與流動(dòng)感，能夠表現(xiàn)色彩與色調(diào)的瞬間變化，服務(wù)與作品的主題與內(nèi)容。Csar

35、das Macabre's section 49-87 used a continuous parallel fifth progression of section 27 , and adopted exactly same notes on the right and left at the same time. The writing style could be described as "bold, stunning", and such continuously pure fifth progression in the later section 30

36、5-343 would be repeated in the same form, section 561-576 emphasized again in the form of change. This approach using had no precedent at that time. After finishing this workCsardas Macabre, Liszt had scrawled on the draft , " Could a person write such a work, or listen to it?" From this w

37、e could see that Liszt was so bold to split with the tradition.Csardas Macabre的49-87小結(jié)運(yùn)用了27小結(jié)的連續(xù)平行五度進(jìn)行，同時(shí)左右都采用了完全一樣的音符。該寫(xiě)作手法可以用“大膽、驚人”來(lái)形容，并且這樣的連續(xù)純五度進(jìn)行在之后的305-343小節(jié)以同樣的形式加以重復(fù)，561-576小結(jié)以變化的形式再次加以強(qiáng)調(diào)，這樣的手法運(yùn)用在當(dāng)時(shí)是絕無(wú)先例的。Liszt在完成Csardas Macabre這部作品后，曾在草稿上隨便潦草的寫(xiě)到“一個(gè)人能寫(xiě)作或者聆聽(tīng)這樣一部作品嗎？”由此我們可以看到Liszt是如此大膽地與傳統(tǒng)分裂開(kāi)來(lái)

38、。Parallel progression of minor sixth chord emerged in the end part of the La lugubre Gondol no2 . As we know,the minor sixth chords color was bleak and easy to show sad emotions,which depicted a blue mood at the funeral successfully. La lugubre Gondol no2在即將結(jié)束的部分出現(xiàn)了小六和弦的平行進(jìn)行?？偹苤×拖疑拾档子诒憩F(xiàn)悲傷、凄涼的清

39、緒。這很好的描繪了葬禮中憂(yōu)傷的心情。In addition, we could find that in Liszts later piano creations, he didnt often use the main harmony as the songs cadence form, but used the following forms: 1. Let the song end on a dissonant interval or chord, and didnt solve it, intending to extend this instable and unsolved sta

40、te, leaving the audiences unfinished feeling.It was mainly reflected in Nuages Gris and Bagatelle sans tonalite. 2. At the end of the song, it was obscured and away from tonality, emphasizing the freedom and erraticism of the song color , such as La lugubre Gondol no2, Bagatelle sans tonalite. 3. Th

41、e end portion of the song often went to collapsebecame silent single part (such as La lugubre Gondol no2), or octave intervals shouting (such as Csardas Macabre, Mephisto WalzerNO.4).另外，我們可以發(fā)現(xiàn)Liszt晚期鋼琴創(chuàng)作中常常不用主和聲作為樂(lè)曲的終止式，而是使用以下幾種形式：1.將樂(lè)曲結(jié)束在不協(xié)和的音程或和弦上，并不給予解決，有意延長(zhǎng)這種不穩(wěn)定及不解決的狀態(tài)，給聽(tīng)眾留下請(qǐng)之未盡的感覺(jué)，主要體現(xiàn)在Nuages G

42、ris和Bagatelle sans tonalite中。2.在樂(lè)曲結(jié)束部分模糊哦并遠(yuǎn)離調(diào)性，強(qiáng)調(diào)樂(lè)曲色彩的隨意自由與飄忽不定，這在La lugubre Gondol no2、Bagatelle sans tonalite。3.樂(lè)曲結(jié)束部分常常走向瓦解發(fā)展成為單聲部的沉默（例如La lugubre Gondol no2），或是八度音程的叫喊（例如Csardas Macabre，Mephisto WalzerNO.4）At the same time, we can find some other compositional techniques associating with the Imp

43、ressionist style.同時(shí)，我們還能發(fā)現(xiàn)一些其他的作曲技法與印象主義風(fēng)格有聯(lián)系。After the 1880s, Liszts piano creations often used chromatic lines music trends, which was reflected with varying degrees in the 5 songs I had just played. In La lugubre Gondol no2 and Csardas Macabre, the use of chromatic scale melody made musical fluen

44、cy weakened and the appeal enhanced,the sound gave people a haggard feeling.在Liszt19世紀(jì)80年代之后的鋼琴創(chuàng)作中，常常使用半音線條的音樂(lè)走向，這在我剛才演奏的5首樂(lè)曲中都有不同程度的體現(xiàn)。在La lugubre Gondol no2和Csardas Macabre，中半音音階的旋律的運(yùn)用使得音樂(lè)的流暢性減弱，所訴性增強(qiáng)，音響效果給人以枯槁的感覺(jué)。Continuous tone was one of the common practices used by Impressionist composer Debus

45、sy, which was used to create, characterize the background. The sustained tremolo and trill of background appeared in large numbers in Liszt's later works, such as in Nuages Gris and Csardas Macabre, and there was also self-propelled continuous tones,such as in Bagatelle sans tonalite, using cumu

46、late continuous tones as the background, which played a crucial role in constituting the title impression of works.持續(xù)音是印象派作曲家德彪西常用的手法之一，以用來(lái)塑造、刻畫(huà)背景。背景的持續(xù)式震音和顫音在Liszt的晚期作品中大量出現(xiàn)，例如在Nuages Gris和Csardas Macabre中，同時(shí)也有機(jī)動(dòng)式持續(xù)音，例如在Bagatelle sans tonalite中，以堆積的持續(xù)音作為背景，這對(duì)構(gòu)成作品的標(biāo)題印象起到了至關(guān)重要的作用。Finally, I want to t

47、alk about the structure of Liszt's later works. In Liszt's later musical creations, he always insisted a creative idea that "form is the way to express the concept" to build the songs structure. Overall, the contrastive principle of the Liszts works structure during this period was

48、 relegated to second position, the musical materials of the songs inside tended to unity, most themes about music were launched; Meanwhile, long lines style melodies tended to collapse and were taken place by short themes to shaping the musical image of the whole subject. Thus the song structures ma

49、inly exhibited parallel structures, symmetrical structures, freedom structures and several more unified structures.最后我想談?wù)撘幌翷iszt晚期作品的結(jié)構(gòu)。在Liszt晚期的音樂(lè)創(chuàng)作中，他始終堅(jiān)持認(rèn)為“形式是觀念表達(dá)的方式”這一創(chuàng)作理念來(lái)構(gòu)建樂(lè)曲的結(jié)構(gòu)?？傮w來(lái)看，這一時(shí)期的Liszt作品在結(jié)構(gòu)上對(duì)比性原則退居其次要地位，樂(lè)曲內(nèi)部的音樂(lè)材料趨向統(tǒng)一，大多圍繞樂(lè)曲的主題展開(kāi)；同時(shí)，長(zhǎng)線條式的旋律趨向瓦解，被短促的主題動(dòng)機(jī)加以替代，用以塑造整個(gè)主題的音樂(lè)形象。由此在樂(lè)曲結(jié)構(gòu)上，主要呈現(xiàn)

50、出平行結(jié)構(gòu)、對(duì)稱(chēng)結(jié)構(gòu)、自由結(jié)構(gòu)等幾種較為統(tǒng)一的結(jié)構(gòu)形態(tài)。Nuages Griss performance of the song structure was very simple and uniform, In a nutshell, it consisted of two main motivation materials: The one was a non-overlapping third chord structure (such as “a” in the picture), and the other was the contact chromatic descending p

51、rogression of augmented triad (such as “b” in the picture). Two motivation materials belonged to the list of dissonant chords, so their characters were very similar. The use of dissonant chords continuous chromatic descending depicted an illusory impression of black clouds. Because of old age,Liszt

52、suffered from cataract which made his vision gradually decreased, so with the help of black clouds,he described that "Night" was approaching toward him. And this double-themed work often appeared in impressionistic musical style, such as Mrs. Ravels Lady in the Water.Nuages Gris在樂(lè)曲結(jié)構(gòu)上表現(xiàn)的異常

53、簡(jiǎn)單且統(tǒng)一，簡(jiǎn)單地說(shuō)，主要有兩個(gè)動(dòng)機(jī)材料組成：一個(gè)是非三度疊置的和弦結(jié)構(gòu)（即圖示中的a），另一個(gè)是增三和弦的聯(lián)系半音下行進(jìn)行（即圖示中的b）。兩個(gè)動(dòng)機(jī)材料屬于不協(xié)和和弦之列，因此在性格上極為相似。不協(xié)和和弦的連續(xù)半音下行運(yùn)用描繪了烏云虛無(wú)縹緲的印象。由于晚年所患白內(nèi)障使他的視力逐漸下降，于是Liszt借助烏云來(lái)描寫(xiě)“黑夜”正向他哆哆逼近。而這種雙主題的作品在印象主義的音樂(lè)風(fēng)格中也經(jīng)常出現(xiàn)，例如拉威爾夫人水妖。Mephisto WalzerNO.4 and Bagatelle sans tonalite were also the double-themed structures. Topic

54、A and B constantly and alternately recurred in Mephisto WalzerNO.4. The transitions between A and B used substantial ways of "chromatic progression" , while the transitions between b1 and b2 in section B were all completed by chromatic progression. Atonal Bagatelle sans tonalite used a lot

55、 of chromatic scales as the melody, and interspersed tri-tones as auxiliaries at the same time.Mephisto WalzerNO.4和Bagatelle sans tonalite同樣也是雙主題的結(jié)構(gòu)。在Mephisto WalzerNO.4中主題A與B不斷的重復(fù)出現(xiàn)、相互交替。A與B的過(guò)渡中大量使用了“半音進(jìn)行”的方式，而B(niǎo)段中b1至b2的過(guò)渡全是由半音進(jìn)行完成的。無(wú)調(diào)性的Bagatelle sans tonalite使用了大量的半音音階作為旋律，同時(shí)穿插三全音作為輔助。La lugubre Go

56、ndol no2 exhibited symmetrical structure in the overall layout ,and it also used the "chromatic progression" as the typical music materials, A/B/C and coda performed chromatic progression materials implicitly , among which section A and B were naturally linked up by chromatic progression .

57、The composer used "chromatic progression" as a "common" material of each part, emphasizing the penetrating effect of the musical development , which embodied the effect of unity and mutual echo. Debussy's Tower and sail also belonged to the symmetrical structure, and had the feature