【音乐】无调性的现代音乐是如何诞生的？/ How was atonal modern music born?
摇摇欲坠的浪漫主义美学 / The Frailty of Romantic Aesthetics
现代音乐也即20世纪现代音乐，当我们仔细考察它的起源时，会发现这是一个关于”反叛“的故事。为什么这样说呢？这是因为，现代音乐与传统的西方音乐有着非常大的差异，一个非常重要的特征是：无调性；而传统的巴洛克、古典和浪漫时期的西方音乐基本都是调性音乐。
Modern music, specifically 20th-century modern music, tells a story of "rebellion" when we closely examine its origins. Why is this the case? Because modern music differs significantly from traditional Western music, with a key characteristic being atonality. In contrast, traditional Western music from the Baroque, Classical, and Romantic periods is predominantly tonal.
调性音乐中每个调子里最重要的便是主音（tonic），乐曲通常由主音或主和弦开始，结束时又将回到主音或主和弦。这就好像不论中间有什么故事和冒险，最终都是会回到这个调式的主音，给人一种完整的感觉，或者说是happy ending。长期以来，调性音乐一直被认为是主流，听众还是更习惯接受调性音乐。
The most important tone in tonal music is the tonic, which usually starts with the tonic or primary chord and returns to it at the end. It's like no matter what story or adventure there is in between, it will eventually return to this tonic, giving people a complete feeling, or happy ending. For a long time, tonal music has been considered mainstream, and audiences are still more accustomed to accepting tonal music.
19世纪的欧洲风云变幻，在普法战争之后，晚期浪漫主义延续了浪漫主义音乐的创作传统。此时的作曲家们发现，主流的调性音乐在过去三百多年内已经发展到顶峰，很难再超越前人了。随着浪漫主义的落幕，音乐的变革悄然来临，在这不断变化的交织中，有位打破传统西方音乐的”反叛者“诞生了，他便是阿诺尔德·勋伯格（Arnold Schoenberg）。
The 19th century in Europe was marked by upheaval, and after the Franco-Prussian War, late Romanticism continued the tradition of romantic music creation. At this time, composers found that mainstream tonal music had reached its peak in the past three hundred years and it was difficult to surpass its predecessors. As Romanticism came to a close, a quiet transformation in music was underway. In the ever-changing landscape of the music industry, a "rebel" emerged who would break from traditional Western music: Arnold Schoenberg.
勋伯格和他的无调性革命 / Schoenberg and his Atonal Revolution
勋伯格于1874年出生于维也纳的一个犹太家庭，他的家庭条件并不富裕，但从小就对音乐表现出浓厚的兴趣。他早期并未接受正规音乐教育，但他对音乐的热爱和天赋使他迅速成长为一位杰出的作曲家。从一开始，他的作品依然充满了晚期浪漫主义音乐的音乐风格，还没有完全抛弃调性，所以听起来跟传统的古典音乐一样。
Schoenberg was born in 1874 into a Jewish family in Vienna. Although his family was not wealthy, he showed a strong interest in music from a young age. He did not receive formal music education in his early years, but his passion and talent for music allowed him to quickly develop into an outstanding composer. From the beginning, his works were still filled with the musical style of late Romantic music and had not completely abandoned tonality, so they sounded like traditional classical music.
1909年，勋伯格创作了第一首无调性作品《钢琴三重奏》（Op.11），从这个时候开始就进入了“自由无调性”创作时期。他取消了调性的概念，作品中的十二个音不再构成任何关系，处于完全平等的状态，并且尽可能不采用传统的和弦结构，旋律、和声、曲式、节奏与音乐构成方法均与传统有极大的差异。所以，无调性音乐其实在大众看来并不好听，甚至听起来有点像噪音。
In 1909, Schoenberg composed his first atonal work, the Piano Trio (Op. 11), marking the beginning of his period of "free atonality." He eliminated the concept of tonality, and the twelve notes in the piece no longer formed any relationships, existing in a completely equal state. He also avoided traditional harmonic structures as much as possible, resulting in melodies, harmonies, forms, rhythms, and compositional methods that were vastly different from conventional music. Consequently, atonal music was often perceived as unpleasant by the public, sometimes even resembling noise.
在这一时期的另一部重要作品是《月迷彼埃罗》（法语：Pierrot lunaire，Op.21），于1912年问世，这是一部非常有影响力的表现主义歌曲套曲，改编自一个比利时诗人的印象派诗歌。诗中充满了精神恍惚的气氛，许多情节看起来是潜意识深处的心灵写照。
Another important work from this period is Pierrot lunaire (Op. 21), which was released in 1912. This influential expressionist song cycle is adapted from the impressionistic poetry of a Belgian poet. The poems are filled with an atmosphere of disorientation, and many of the themes appear to be reflections of the subconscious mind.
十二音技法和第二维也纳乐派 / Twelve-tone Technique and the Second Viennese School
不同于创作调性音乐，当写作无调性音乐时，作曲者需要冲破许多调性音乐的规则，即无规则。结果就是，创作大型的无调性音乐变得越来越难，并且越来越不确定。
Unlike composing tonal music, when writing atonal music, composers must break free from many of the rules of tonal music, embracing a sense of freedom from structure. As a result, creating large-scale atonal music becomes increasingly challenging and uncertain.
因此，勋伯格发明了十二音技法，他通过将所有音高平等化，赋予每个音符同等的重要性，因而废除了中心音的存在，在具有一定规则下进行随机性创作。简单来说，就是用玩数独的方式作曲。这种方法在当时引起了很大的争议，因为从严格意义上来讲，这种创作手段似乎已经超出了传统音乐创作的认知范畴。
Therefore, Schoenberg invented the twelve-tone technique, which equalizes all pitches and gives each note equal importance, thus eliminating the concept of a central tone and allowing for random composition within certain rules. In simple terms, it's like composing music using a Sudoku approach. This method sparked significant controversy at the time, as it seemed to transcend the boundaries of traditional music composition in a strict sense.
勋伯格的学生如阿尔班·贝尔格（Alban Berg）和安东·韦伯恩（Anton Webern）将这一技法继续发展。他们三人也被称为第二维也纳乐派。
Schoenberg's students such as Alban Berg and Anton Webern continued to develop this technique. They are also known as the Second Viennese School.
无调性的表现主义音乐 / Atonal expressionist music
勋伯格的作品在后来被视为表现主义音乐的代表作，勋伯格也成为了表现主义音乐的代表人物。
Schoenberg's works were later regarded as representative works of expressionist music, and he also became a representative figure of expressionist music.
1919年，第一次世界大战结束，德国的战败导致严重的经济危机，于是，注重表现内心的恐惧情感的表现主义出现了。印象主义虽然也是强调主观体验，但主要是外在事物给个人的瞬间体验和感受，但表现主义更加强调个人内在的体验和感受，更聚焦于内心的挣扎与痛苦，所以通常用紧张、恐惧、绝望等比较有戏剧张力的情绪融入到作品之中。
In 1919, with the end of World War I and Germany's defeat leading to a severe economic crisis, expressionism emerged that focused on expressing inner fears and emotions. Although Impressionism also emphasizes subjective experience, it mainly focuses on the momentary experiences and feelings that external things give to individuals. However, Expressionism emphasizes more on the inner experiences and feelings of individuals, and focuses more on inner struggles and pain. Therefore, emotions with dramatic tension such as tension, fear, and despair are usually incorporated into works.
表现主义音乐取消了调式调性的限制，让十二个音处于平等关系，真正让音乐没有调性。基于表现主义的特点，其音乐具有高度的不和谐、力度的极端对比、织体的不断变化、扭曲的旋律和和声，以及带有宽幅跳跃的棱角分明的旋律。
Expressionist music eliminated the constraints of tonality, placing the twelve notes in an equal relationship and truly creating music without tonality. Expressionist music often features a high level of dissonance, extreme contrasts of dynamics, constant changing of textures, "distorted" melodies and harmonies, and angular melodies with wide leaps.
“反叛”精神永不过时 / The Spirit of "Rebellion" Never Goes Out of Style
在1945年以后，勋伯格的无调性音乐和十二音技法已被普遍接受，在这之后出现的民族主义音乐、新古典主义、传统风格作曲家、微分音乐与噪音音乐、序列音乐、偶然音乐、电子音乐等等，均或多或少都受到了勋伯格的影响。
After 1945, Schoenberg's atonal music and twelve-tone technique were widely accepted. The subsequent emergence of nationalist music, neoclassicism, traditional style composers, microtonal music, noise music, serial music, chance music, electronic music, and more were all influenced to varying degrees by Schoenberg.
尽管很多人并不能接受勋伯格的音乐，但几乎没有人不承认他是20世纪现代音乐的先驱者，正是他的反叛精神才催生出这么多的音乐流派，并推动着20世纪音乐不断向前发展。从某种意义上来说，勋伯格的发现和创新影响了我们现在几乎所有的音乐。
Although many people may not appreciate his music, almost everyone acknowledges him as a pioneer of 20th-century modern music. His spirit of rebellion gave rise to numerous musical movements and propelled the continuous evolution of music throughout the century. In a sense, Schoenberg's discoveries and innovations have influenced nearly all of the music we hear today.
