Abstract

Toward the end of his 2012 book, Audacious Euphony, Richard Cohn asks, “how does music that is heard to be organized by diatonic tonality [as in the age of Mozart] become music that is heard to be organized in some other way [as in the age of Webern]”? In the present article, a theory different from Cohn’s is offered as answer. The theory’s three sub-theories, harmonic hierarchy, within-key chromaticism, and “solar” key distance, lead to a distinction between four types of harmonic systems: the strictly diatonic, the first- and second-order chromatic, and the restricted twelve-tone system. As its name implies, the latter harmonic system allows for twelve-tone levels, though under a restriction (termed Principle of Diatonic Fusion) that holds “the Webern in Mozart” in check.

中文翻译：

---

莫扎特的韦伯恩：色彩和声系统及其十二音成分

摘要

理查德·科恩（Richard Cohn）在他2012年的《大胆的低音》一书即将问到时说：“在全音阶调下听到的音乐（如莫扎特时代）如何变成以其他方式编排的音乐[如在韦伯恩时代]”？在本文中，提供了不同于Cohn的理论作为答案。该理论的三个子理论，谐波层次，键内色度和“太阳”键距，导致四种谐波系统之间的区别：严格全音阶，一阶和二阶色度以及受限的十二种音系统。顾名思义，后一种谐波系统允许十二个音调的电平，尽管受到了限制（称为“音阶融合原理”）的约束，该约束使“莫扎特的韦伯恩”得到了控制。