The 'Cambiata' Motive and Cyclic Form in Schnittke's 4th String Quartet and 3rd Piano Sonata

10.30095/SYJH.200712.0002

Kheng-Keow Koay

許尼特克 ； 二十世紀音樂 ； 當代俄國音樂 ； Alfred Schnittke ； 20th-Century music ； Contemporary Russian Music

中山人文學報

24期（2007 / 12 / 01）

25 - 39

英文

本文探討十幾年來許尼特克創作中常用的主題手法，尤其在音樂的範疇上，這個慣用主題更是持續發展，其中主題運用安排的技法值得特別注意。除了運用多樣作曲技巧之外，不管是否運用大跳躍分隔出半音或跳躍音程，許尼特克在音樂表而結構上，大都會分別呈現這個主題於其音樂原始架構、以及半音階的排列之中。

This paper reveals site treatment of a musical clement (motive) that has been used and reused in Schnittke's compositions for more than a decade. In the music, the motive not merely undergoes varied reiteration but also development. In general, on the surface level it is presented in: 1) its original structure, with or without its outer semitone being separated by a huge leap, and 2) a chromatic line, wills or without its outer interval being separated by a huge leap. In addition, a variety of compositional techniques ate employed to bring attention to the motive. Especially noteworthy is Schnittke's treatment of motive manipulation in Site music.

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