本文選題：拉莫　切入點(diǎn)：和聲理論　出處：《上海師范大學(xué)》2004年碩士論文　論文類型：學(xué)位論文

【摘要】： 巴洛克音樂時(shí)期的一大貢獻(xiàn)是拉莫的和聲理論，它前承文藝復(fù)興盛期的調(diào)式和聲，后接古典主義時(shí)期的調(diào)性和聲，成為連接這兩個(gè)階段的橋梁。因此，我們要研究近代調(diào)性和聲理論的形成與發(fā)展，，首先需要對(duì)拉莫的和聲理論作一探討。 本文首先從巴洛克音樂時(shí)期的社會(huì)發(fā)展一般背景和音樂實(shí)踐背景兩個(gè)方面分析了拉莫和聲理論形成所具備的外部條件；然后結(jié)合當(dāng)時(shí)的音樂實(shí)踐以及拉莫對(duì)前人理論研究成果的繼承與發(fā)展，對(duì)拉莫和聲理論的主要內(nèi)容進(jìn)行了較為全面、系統(tǒng)的介紹，并就其意義作相關(guān)闡述，歸納出了拉莫作為近代調(diào)性和聲奠基人在和聲發(fā)展史上的重要地位；最后，文章在承繼性、實(shí)踐性、社會(huì)性幾個(gè)方面指出了拉莫和聲理論的形成對(duì)于我們現(xiàn)今的和聲研究所具有的啟示意義。
[Abstract]:One of the great contributions of Baroque music period is Lamo's harmony theory, which follows the tone harmony of the Renaissance and then the classical harmony, and becomes the bridge between these two stages. In order to study the formation and development of modern tonality harmony theory, we need to discuss Lamo's harmony theory. This paper first analyzes the external conditions of Lamo's harmony theory from two aspects: the general background of social development and the background of music practice in the Baroque period. Then combined with the music practice at that time and Lamo's inheritance and development of previous theoretical research results, the main content of Lamo's harmony theory is introduced comprehensively and systematically, and its significance is expounded. The important position of Lamo in the history of harmony development as the founder of modern harmony is summarized. Several aspects of sociality point out that the formation of Lamo's theory of harmony has enlightening significance for our present research on harmony.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：J609.1

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 謝愷;西方前古典主義時(shí)期器樂創(chuàng)作的梳理和研究[D];湖南師范大學(xué);2012年

本文編號(hào)：1582128