本文選題：調(diào)性　切入點(diǎn)：基調(diào)性　出處：《河南大學(xué)》2002年碩士論文

【摘要】： 在音樂的發(fā)展進(jìn)程中。調(diào)式與調(diào)性始終是貫穿其中，且是一個(gè)極其重要的方面，同時(shí)，它又是一個(gè)比較復(fù)雜的問題。尤其是從浪漫派后期以來，由于作曲技術(shù)的不斷出新及作曲家對(duì)和聲的色彩性、動(dòng)力性、種種新穎效果、不同風(fēng)格的追求。因此“調(diào)性”這一傳統(tǒng)觀念被逐漸打破。各種技法的運(yùn)用多樣、流派分呈。調(diào)性音樂逐漸向無調(diào)性音樂過渡。本文是以調(diào)式、調(diào)性的發(fā)展過程為出發(fā)點(diǎn)，從和聲的角度對(duì)調(diào)性與調(diào)式性講述一些個(gè)人的看法，并對(duì)從調(diào)性音樂至無調(diào)性音樂的發(fā)展進(jìn)程中所包含的一類“基調(diào)性”現(xiàn)象進(jìn)行一定的分析和研究。 本文共分為三個(gè)部分： 第一部分：敘述“調(diào)性”問題。主要是針對(duì)“調(diào)性”概念的兩個(gè)方面進(jìn)行說明。并由此提出“調(diào)性框架”與“調(diào)式框架”兩個(gè)概念。當(dāng)明確了這兩個(gè)框架之后，則調(diào)性必然明朗。 第二部分：主要分析了“基調(diào)性”現(xiàn)象。從調(diào)性音樂到無調(diào)性音樂的發(fā)展進(jìn)程中，有許多的復(fù)雜現(xiàn)象。本文列舉了十?dāng)?shù)個(gè)有代表性作實(shí)例以此分析“基調(diào)性”的現(xiàn)象，進(jìn)而藉此說明“基調(diào)性”是調(diào)性音樂與無調(diào)性音樂之間的一片廣闊的中間地帶、一座過渡的“橋梁”，一種中間式的調(diào)式—調(diào)性現(xiàn)象。 第三部分：是對(duì)“調(diào)式性”進(jìn)行總結(jié)。調(diào)式的種類繁多，存在著民族、地域差異。而調(diào)式結(jié)構(gòu)的差異，則必然有著不同的類別、色彩及特性。調(diào)式的這種類別、色彩、特性及差異，，統(tǒng)稱做“調(diào)式性”。本文以七個(gè)歐洲中古調(diào)式為例，將其之間的差異，色彩及特性作出了詳細(xì)的歸納、總結(jié)。以此說明這種現(xiàn)象不是偶然性的巧合，而是普遍存在的，反映著事物的一種內(nèi)在規(guī)律性和組織性，因此是有其理論與實(shí)踐的價(jià)值和意義的。
[Abstract]:In the development of music, mode and tonality are always running through them, and it is an extremely important aspect. At the same time, it is also a more complicated problem, especially since the later period of Romanticism. The traditional concept of "tonality" has been gradually broken because of the continuous development of composition techniques and the composer's pursuit of color, power, novel effects and different styles of harmony. Tonal music is gradually transitioning to anatonic music. This article is based on the development process of tonality and tonality. From the perspective of harmony, this paper tells some personal views on tonality and tonality. This paper also analyzes and studies a kind of "tone" phenomenon in the development process from tonality music to atonal music. This paper is divided into three parts:. The first part: narrates the problem of "tonality". It mainly explains two aspects of the concept of "tonality", and puts forward two concepts of "tonality frame" and "mode frame". Then the tonality is bound to be clear. The second part mainly analyzes the phenomenon of "tone". There are many complex phenomena in the process of development from tonality music to atonal music. This paper enumerates a dozen representative examples to analyze the phenomenon of "tone". Thus, "tone" is a broad middle zone between tonality music and atonal music, a bridge of transition, and a kind of intermediate mode-tonality phenomenon. The third part is to sum up the "tonality". There are many kinds of modes, there are national and regional differences, and the differences in mode structure must have different categories, colors and characteristics. The characteristics and differences, collectively called "tonality", are summed up in detail in this paper, taking seven middle European modes as examples, and the differences, colors and characteristics among them are summed up, so as to show that this phenomenon is not a coincidence of fortuitousness. It is universal and reflects an inherent regularity and organization of things, so it has the value and significance of theory and practice.
【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】：2002
【分類號(hào)】：J604

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1 王穎;關(guān)于調(diào)性、基調(diào)性與調(diào)式性[D];河南大學(xué);2002年

本文編號(hào)：1691980