This paper proposes the theory of "Overtone Gravitational Field" to explain the effective application of free atonal fragments within tonal music. Grounded in the overtone series as its physical foundation and the auditory field effect as its psychological basis, the theory argues for a dialectical complementarity between tonality and atonality: atonality must rely on tonality to be understood, and tonality gains its meaning through the existence of atonality.The theory is validated through the compositional practice of three works. The symphonic poem The Wings of Peng employs a permeable structure to depict the ideological struggles of China's Reform and Opening; Purity and Turbidity realizes an ancient and profound imagery through the dual-tonic structure of C-gong and D-shang; the orchestral fantasy Blocking the Horse presents a dramatic climax of opera combat via a rondo structure. All three works received positive audience feedback, confirming the epistemological stance of "perception prior to measurement."The paper critiques the formalist crisis in music theory, clarifies the ambiguous functional definitions of the subdominant in existing literature, and reveals the multi-centric structures of the Overtone Gravitational Field—single tonic, perfect-fourth dual tonic, and major-second dual tonic—arguing that music is the sound of humanity and the medium of emotional expression.
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