文章以法国作曲家杰拉德·格里赛的代表作《调制》为研究对象,重点分析其第二、四部分中复调织体的写法。研究表明,格里赛创造性地构建了基于声音频谱的复调织体。在第二部分中,格里赛通过精确控制相位移动参数,实现了频谱中单一谐音在时间维度上的自我对话;第四部分则通过频谱的乐器合成,构建了四种音色交互的复调织体。研究发现,《调制》中的复调织体本质上是频谱音乐美学观念在织体构建层面的具体实现,并在美学追求、生成逻辑、材料本体与结构功能等方面均展现了与传统复调音乐的区别。

This paper examines French composer Gérard Grisey's representative work Modulations, focusing on the polyphonic texture in its second and fourth sections. Grisey innovatively constructs polyphonic textures based on the sound spectrum.In the second section, Grisey,by precisely controlling phase-shifting parameters, achieves a temporal dialogue of a single harmonic with itself within the spectrum. In the fourth section of Modulations, he builds the polyphonic texture through the instrumental synthesis of spectrum, creating interactions among four distinct timbres. The study reveals that the polyphonic texture in Modulations fundamentally embodies the aesthetic principles of spectral music, distinguishing itself from traditional polyphonic music in terms of aesthetics, generative logic, source material, and structural function.