高为杰，教授，作曲家。1938年5月生于上海。1960年毕业于四川音乐学院。曾任四川音乐学院及中国音乐学院作曲系主任，1983年创建中国第一个现代音乐团体“作曲家创作探索会”。现任中国音乐学院教授，博士生导师，上海音乐学院博士生导师及博士后科研流动站外聘联系导师，首都师范大学博士生导师，四川音乐学院现代音乐研究中心特聘研究员，延边大学客座教授，美国辛辛那提大学音乐学院兼聘教授，黑龙江大学兼聘教授，天津音乐学院荣誉教授，贵州师大客座教授，琼州学院客座教授，《中国音乐》、《爱乐》等刊物编委。
高为杰的音乐作品曾在国内外演出、出版并获多种奖项。理论方面有《和声力学研究》，《曲式分析基础教程》，《音级集合的配套》及《20世纪音乐名著导读》等专著与论文百余种。2008年7月高为杰被评为北京市高校名师。2014年获中国音乐学院颁发的“突出贡献奖”。
高为杰2008年与2014年于北京成功举办个人作品专场音乐会，2010年举办从教50周年师生作品音乐会，均受到广泛关注与好评。传略载入英国剑桥《国际音乐与音乐家名人词典》（第17版）等辞书。
Gao Weijie was born in Shanghai,1938. After graduating from the Sichuan Conservatory of Music in 1960, he taught there and then became the chairman of composition department. Since 1989,Gao has been teaching composition and music analysis at China Conservatory of Music in Beijing. Gao is a member of Chinese Musicians Association, and the President of “Exploratory Union for Musical Composition”.
Gao‘s compositions include symphonic music, chamber music, ballets, incidental music for plays and many songs. Gao is also a musical theorist. A lot of his articles and monographs (including Studying in Harmonic Dynamics, The Musical Form, On the Structure of Scale with a Catalogue of Its Classification and Guide to Great Works of 20th Century Music etc.) have been published and warmly received by readers.
Gao is an outstanding teacher. He has taught composition for 57years and a lot of students of him have become famous composers.
His biography is included in the INTERNATIONAL WHO’S WHO IN MUSIC(17th Edition,International Biographical Centre Cambridge).
数控支声作曲方法的组织结构新探索
New Exploration of the Organizational Structure for Numerical Control Heterophony Composition Method
内容简要：
讲座以作者2016年创作的民乐室内乐《山居》为例，分析介绍以极简的音乐材料，运用支声手法，结合数控技术来组织音乐陈述结构的一种新的探索。这样的音乐虽然在本质上是一种单声音乐,但又有丰富的多声部线条叠合的多声部织体音响，形成在简约中获得丰富的艺术效果。
这种作曲方法首先要确立一个基础母体，我把它称之为“母旋律”： 它既要考虑旋律音调本身的调式感与风格因素，同时又还要兼顾到相关声部乐器的音域及演奏法，最终还要力求使由这一“母体”重复延伸而成的音乐贴近所要表现的内容与意境。通过反复思考与试验，最后确定的“母旋律”如下：
b-e-a-d-f#-b-e-c#-g#-f#
这一“母旋律”共由10个音组成，其中有3个重复音，因此实际的基础音只有7个，而这七个音如果按照从低到高的顺序排列起来，正好构成一个A宫调域的七声音阶。“母旋律”的10个音可以分成前后两半，前后5个音分别构成两个不同的五声音阶：前5个音为D宫调域的五声音阶，后5个音为E宫调域的五声音阶。从调关系的角度来看，其中包含了D-A-E三个五度关系的调域。
在“母旋律”的发音点上以数控节律拉出的支声旋律,是以斐波拉契数列前五个数的四种重排方式为依据：
①1、8、2、5、3 ——正闭扇型
②8、1、5、2、3 ——反闭扇型
③3、2、5、1、8 ——正开扇型
④3、5、2、8、1 ——反开扇型
节律的单位长度以八分音符为主，但也可用其他时值单位。比如曲中也用到以四分音符为单位的节律。
各声部旋律的延伸则是选用数列的轮转重复，如：
18253-82531-25318-53182-等。
Abstract:
This lecture takes my chamber music——Life in the Mountain produced in 2016 as an example. I will analyze and introduce the new exploration on using especially simple musical materials and heterophony techniques as well as numerical control technology to organize music presentation structures. Although this kind of music is monophony in nature, it possesses rich polyphonic texture sound with polyphonic lines overlapping together, thus creating wonderful artistic effects out of simplicity.
This composing technique requires a basis, which I call it “basis melody”. To find the best basis melody, we need to consider the tonal and stylistic elements of melody and tone themselves together with range and performing methods of related musical instruments in different Parts, thus to ensure that the music produced by repeating this mother melody is close to the content and artistic perception. After careful consideration and numerous experiments, I finally found the best basis melody:
b-e-a-d-f#-b-e-c#-g#-f#
This basis melody consists of 10 notes, with 3 repeated notes and 7 roots. Once arranged from low to high pitch, to construct a diatonic scale in A modulation. The 10 notes can be divided into halves, each constructing two different pentatonic scales. The first five notes are D modulation domain pentatonic scale while the latter 5 notes the E modulation domain pentatonic scale. In terms of relationships among tones, this contains tone range with three D-A-E quint five-degree relations.
The heterophony melody produced on numerical control rhythm at point of basis melody is related to the first 5 numbers of Fibonacci sequence, which are rearranged as follows:
① 1、8、2、5、3 ——closed fan type
②8、1、5、2、3 ——anti-closed fan type
③3、2、5、1、8 ——open fan type
④3、5、2、8、1 ——anti-open fan type
The unit length of the rhythm is mainly the eighth notes, sometimes using other units, for example, the quarter notes unit rhythm.
The extension of melody in each Part is the rotary repetition of first five numbers of sequence numbers, such as :
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