本文選題：興德米特 + 和聲理論　； 參考：《河北師范大學(xué)》2011年碩士論文

【摘要】：保羅·興德米特是二十世紀(jì)有代表性的作曲家、音樂教育家和理論家之一。作為一位音樂理論家,其理論嚴(yán)謹(jǐn)、完備,涉及面比較廣,在闡述各種技術(shù)運(yùn)用的方法方面,具體、豐富并且細(xì)致,是十分有價(jià)值的理論。他的著作《作曲技法》(理論篇、二聲部寫作練習(xí)和三聲部寫作練習(xí))還被列入二十世紀(jì)音樂論著目錄。興德米特的理論概括起來具有兩大特征——實(shí)用性和現(xiàn)代性。興德米特作曲技術(shù)理論包括了音高材料的組織原則、和聲的運(yùn)用、調(diào)性的安排以及作品的分析等等。但如何將其理論運(yùn)用到實(shí)際的創(chuàng)作中去,包括興德米特的原著以及與之相關(guān)的譯文和論文的論述均不多,因此該理論的應(yīng)用仍有待于進(jìn)一步的探索。 我國近代作曲家譚小麟(1911——1948)在美國留學(xué)期間,有四年時(shí)間師從保羅·興德米特,對(duì)興氏的作曲理論及其運(yùn)用深得其精髓。1946——1948年譚小麟在上海音專作曲系任教時(shí),對(duì)即將畢業(yè)的幾位同學(xué)重點(diǎn)地講授了興氏的和聲理論,并具體指導(dǎo)同學(xué)在自己的創(chuàng)作中運(yùn)用這一理論。 興氏理論最簡要地說,是將半音階作為音樂的媒介,將和聲、旋律置于半音階上去研討去寫作,突破了大小調(diào)七聲音階的局限;興氏建立的和弦分類表——依據(jù)音序Ⅱ——包括了所有可能有的和弦,在傳統(tǒng)和聲中幾乎不可想象的和弦都在該表中;他提出一系列有關(guān)的理論和寫作原則(如音序Ⅰ等),將這些和弦連接起來充分發(fā)揮作用,開拓了最廣闊的和聲音響天地。興氏理論是基于音(泛音列、結(jié)合音)的自然特性,自成一科學(xué)體系,它對(duì)任何時(shí)代、任何風(fēng)格的作品都適用。興氏堅(jiān)持音樂按它的自然特性是有調(diào)性的。當(dāng)然,對(duì)興氏理論,國外也有不少文獻(xiàn)從不同的角度予以介紹、評(píng)論。 本文從引言、興德米特作曲技術(shù)理論的特色、興德米特作曲技術(shù)理論創(chuàng)作實(shí)踐、結(jié)語等四個(gè)方面進(jìn)行論述,第一部分引言主要從興德米特簡介、實(shí)用性和現(xiàn)代性以及提出問題如何將興德米特作曲技術(shù)理論運(yùn)用到實(shí)際的創(chuàng)作中去來闡述其重要意義;第二部分興德米特作曲技術(shù)理論的特色主要從和弦構(gòu)成、和弦結(jié)構(gòu)的多樣化、和弦根音的特殊性、按物理屬性對(duì)和弦進(jìn)行分類、按物理屬性確定和弦價(jià)值、和聲連接、和聲起伏、同類同組且根音位置相同的和弦連接時(shí)的價(jià)值高低、和聲運(yùn)動(dòng)中各種力的相互補(bǔ)償作用、“引導(dǎo)音”原則、調(diào)性、調(diào)性的概念、音(調(diào))關(guān)系、調(diào)性的確定等方面進(jìn)行闡述;第三部分興德米特作曲技術(shù)理論創(chuàng)作實(shí)踐主要從二部骨架寫作、利用旋律本身的和聲內(nèi)涵,進(jìn)行低音聲部寫作、運(yùn)用旋律的“級(jí)進(jìn)進(jìn)行”抽取旋律的骨干音級(jí),并以骨干音級(jí)作為“二部骨架”的高音聲部進(jìn)行“二部骨架”的寫作、設(shè)計(jì)“和聲起伏”、“和聲起伏”的類型、“和聲起伏”的設(shè)計(jì)、和弦的選擇、呈示部分的和弦選擇、展開部分的和弦選擇、作品從屬部分的和弦選擇、和弦的緊張度比較方法等方面進(jìn)行闡述;第四部分結(jié)語進(jìn)行歸納總結(jié);本文特別從“二部骨架”的寫作與“和聲起伏”的設(shè)計(jì)兩個(gè)方面入手,對(duì)如何將興氏理論運(yùn)用到創(chuàng)作實(shí)踐中去進(jìn)行了初步的探索。
[Abstract]:Paul Hindemit is one of the representative composers, music educationists and theorists in twentieth Century. As a musical theorist, his theory is strict, complete, and involves a wide range of techniques. It is specific, rich and meticulous in the method of various techniques. His works are ten points of value. The two vocal writing exercises and the three Department writing exercises are also included in the twentieth Century book of music books. Hindemith's theory is summed up with two characteristics - practicality and modernity. The theory of Hindemith's composing technology includes the organizational principles of the pitch materials, the use of harmony, the arrangement of the tunes, and the analysis of the works. How to apply its theory to practical creation, including the original work of Hindemith and the translation and thesis related to it, is not much, so the application of the theory remains to be further explored.
Tan Xiaolin (1911 - 1948), a modern composer in China (1911 - 1948), was taught by Paul Hindemith for four years in the United States. The theory of Xing's composing and its use was deeply rooted in its application. When Tan Xiaolin was taught in Shanghai music school in 1948, some students who were about to graduate were taught the theory of Hsing's harmony. Instruct students to use this theory in their own writing.
Xing's theory, in brief, is to use the semi scale as the medium of music, to study the harmony and the melody in the semi scale, to break through the limitations of the seven tone order of the size tone; the chord classification set up by Xingshi - based on the order II - includes all possible and chords and almost unimaginable chords in traditional harmony. In this form, he puts forward a series of relevant theories and principles of writing (such as word order I), which connect these chords to full play and open up the broadest harmony and sound field. The theory of Xingshi is based on the natural characteristics of sound (the tone column, combined sound), and it is a scientific system, which is applicable to any time and any style of work. Hsing's insistence on music is tunable according to its natural characteristics. Of course, there are many foreign literatures on Xing's theory from different angles.
This article from the introduction, the characteristic of Hindemith's composing technology theory, Hindemith's composing technique theory creation practice, the conclusion and so on four aspects to discuss. The first part of the introduction mainly from the Hindemith brief introduction, the practicality and the modernity, and raises the question how to apply Hindemith composing technique theory to the actual creation. The second part of Hindemith's composing theory is mainly composed of chords, the diversity of the chord structure, the particularity of the chord root sounds, the classification of the chords according to the physical properties, the determination of the chord value according to the physical properties, the harmony of the chord, the harmony of the sound, the harmony of the same chords in the same group and the same chord position. The mutual compensation of all kinds of forces in harmony movement, the principle of "guiding sound", the concept of modulating, tonal, the relationship of tone (tune), and the determination of the tonality; the third part of Hindemith's composing technique theory is mainly written from two skeletons, using the connotations of the harmony of the rhythm itself, making the bass voice writing and using the melody. The "progressive progressive" takes the backbone of the melody and takes the backbone of the "two skeleton" as the "two skeleton", designs the type of "harmony ups and downs", "harmony ups and downs", "harmony ups and downs", the selection of chords, the selection of chords, and the selection of chords in parts. The selection of the subordinate chords and the method of comparison of the tension of the chords is expounded, and the fourth part of the conclusion is summed up. This article, in particular, starts with the two aspects of the writing of the "two skeleton" and the design of the "harmony ups and downs", and makes a preliminary exploration of how to apply Hsing's theory to the creation practice.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J614

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相關(guān)期刊論文 前2條

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本文編號(hào)：2021826