本文關(guān)鍵詞：我國(guó)樂(lè)理書(shū)中的三種音階觀念　出處：《河南大學(xué)》2011年碩士論文　論文類(lèi)型：學(xué)位論文

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【摘要】：三種音階觀念已在我國(guó)廣泛傳播并被普遍接受,而三種音階的傳播及影響,則是直接由音樂(lè)基礎(chǔ)理論教學(xué)加以實(shí)施并奠定的。只要一提起我國(guó)傳統(tǒng)音樂(lè)不同于西方音樂(lè)的特征,就會(huì)立刻想到樂(lè)理書(shū)中講的三種音階。要清楚認(rèn)識(shí)三種音階觀念,就不能不從作為音樂(lè)基礎(chǔ)理論的樂(lè)理開(kāi)始。 李重光、童忠良、杜亞雄等三位學(xué)者的樂(lè)理著述在我國(guó)具有一定的代表性和典型性。李重光是把傳統(tǒng)樂(lè)理內(nèi)容納入到普通樂(lè)理中的第一人,其書(shū)對(duì)三種音階觀念的傳播起到了開(kāi)創(chuàng)性的作用;童忠良等人的樂(lè)理教材,把三種音階與黃翔鵬所提出的“同均三宮”理論聯(lián)系起來(lái),對(duì)已有三種音階觀念的鞏固深入起到了很大作用;對(duì)于杜亞雄的傳統(tǒng)樂(lè)理,雖然人們褒貶不一,但其書(shū)中有關(guān)的理論表述特別是其不斷變換的表述方式,卻引發(fā)我們對(duì)三種音階的思考與認(rèn)識(shí)。 本文將三種音階觀念作為對(duì)象,把研究的目光具體鎖定在了對(duì)三種音階觀念傳播產(chǎn)生重大作用的樂(lè)理書(shū)中,試圖就有關(guān)的理論表述及譜例實(shí)證等進(jìn)行系統(tǒng)的梳理分析,對(duì)其中所顯現(xiàn)的問(wèn)題進(jìn)行辨析。相信通過(guò)對(duì)樂(lè)理書(shū)中有關(guān)三種音階觀念的研究,一定會(huì)推動(dòng)我們對(duì)于中國(guó)傳統(tǒng)音階問(wèn)題的深入認(rèn)識(shí)和準(zhǔn)確把握。
[Abstract]:The concept of three scales has been widely spread and widely accepted in China, and the spread and influence of the three scales. It is directly carried out and laid down by the teaching of basic theory of music, as long as the characteristics of Chinese traditional music are different from those of western music. You will immediately think of the three scales in the book of musical theory. In order to understand the concept of the three scales clearly, we must begin with the musical theory as the basic theory of music. Li Zhongguang, Tong Zhongliang, du Yaxiong and other three scholars' music theory works have certain representativeness and typicality in our country. Li Chongguang is the first person to bring the traditional music theory content into the ordinary music theory. His book has played a pioneering role in the dissemination of three kinds of scale ideas. Tong Zhongliang et al.'s musical theory teaching materials, linking the three scales with the theory of "homogenizing and three houses" put forward by Huang Xiangpeng, played a great role in the consolidation of the existing three kinds of scale concepts. For du Yaxiong's traditional musical theory, although people are different in praise and criticism, the theoretical expression in his book, especially its changing way of expression, has caused us to think and understand the three scales. This article regards three kinds of scale idea as the object, and focuses the research on the musical theory book which plays an important role in the dissemination of the three kinds of scale ideas. This paper attempts to make a systematic analysis of the related theoretical expressions and empirical examples, and to discriminate and analyze the problems that appear in them. It is believed that through the study of the three kinds of scale concepts in the book of musical principles. It will certainly promote our deep understanding and accurate understanding of the traditional Chinese scale.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類(lèi)號(hào)】：J613.6

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 張宇翔;中國(guó)五聲調(diào)式的視唱研究[D];山西大學(xué);2012年

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本文編號(hào)：1361185