Macro Processing Of Polyphonic Texture In The 20^th Century

The Ultra-multi-voice Polyphonic phenomenon in modern music of the 20th century has gradually aroused concerns in academic circle. All sorts of concepts and theories have consequently emerged from different perspectives. After collecting, sorting, and researching relevant literatures, the author believes that the utilization of ultra-multi-voice polyphonic structure is an independent Polyphonic processing technique contrasting with micro-processing technique. While there as well exist inverse relationships there-in-between in terms of technical characteristics, ideological emphysis, and many other aspects, although their common aesthetic purpose is to create integrated sound effects. This paper categorizes the utiliztion of ultra-multi-voice polyphonic structure, which does not reflect micro-processing technical features in the whole, or just partly relies on it, into "macro processing of polyphonic texture" from the perspective of technique construction in order to reflect connectivity and inversibility between both techniques. This is a new kind of modern polyphonic processing technique which strengthens the simultaneity, multiplicity, antagonism of various sound components as well as based on expansion of the form of polyphonic texture. It is the extreme manifestation of polyphonic thinking, "the resistance law". This paper explores and researches macro processing technique of polyphonic texture mainly from history, technical characteristics and the relation to micro processing.