安东·韦伯恩作为新维也纳乐派唯一一位将声乐体裁创作贯穿整个职业生涯的作曲家,其晚期五部序列声乐作品皆以希尔德加德·琼的诗歌为文本,在十二音序列音高组织与诗歌的深度融合中实现技法理性与精神信仰的高度统一。文章以韦伯恩晚期三部代表作品为分析对象,聚焦序列音高的组织逻辑、纵向和声结构与织体陈述方式,考察作曲家如何将诗歌中的二分性、循环性与回文性特征转化为音乐结构的组织原则,从而论证韦伯恩晚期声乐创作不仅在技术层面上实现了十二音序列对诗歌文本的深度吸纳与重塑,更在美学层面构成对德国浪漫主义“音乐诗学”命题——尤其是诺瓦利斯与施莱格尔所主张的“诗歌应如音乐”之理想的现代性应答。

Anton Webern is the only composer among the Second Viennese School who maintained vocal composition as a consistent thread throughout his entire career. His five late serial vocal works, all set to texts by Hildegard Jone, achieve a profound unity of technical rationality and spiritual faith through the integration of twelve-tone pitch organization with poetic structure. This paper takes three representative late works by Webern as objects of analysis, focusing on the organizational logic of serial pitch, vertical harmonic structures, and textural presentation, in order to examine how the composer transforms the binary, cyclical, and palindromic features of Jone's poetry into the organizing principles of musical form. It thereby demonstrates that Webern's late vocal compositions not only accomplish technically a deep absorption and reshaping of poetic texts within the twelve-tone system, but also constitute aesthetically a response of modernity to the Romantic ideal of “musical poetics”-particularly the proposition advocated by Novalis and Schlegel that “poetry should be like music”.