本文關(guān)鍵詞：黃安倫三首五聲性鋼琴作品的和聲形態(tài)與調(diào)性結(jié)構(gòu)研究　出處：《西南大學(xué)》2009年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 五聲性風(fēng)格 音階材料 多聲結(jié)構(gòu) 調(diào)性運(yùn)動(dòng) 風(fēng)格泛化

【摘要】： 在以往的幾十年間,對于中國五聲性多聲音樂作品的和聲形態(tài)研究總是自覺或不自覺地以西方大小調(diào)和聲體系作為參照。不可否認(rèn),五聲性音樂在諸多層面與大小調(diào)體系音樂存在著包容、滲透的現(xiàn)象,但作為一種具有鮮明特征的音樂風(fēng)格,它的背后必然有其自身的邏輯和技法作為支撐,并通過相應(yīng)的具體形態(tài)表現(xiàn)出來。從音階材料的選取到和弦結(jié)構(gòu)的變化,再到和弦序進(jìn)所構(gòu)建的豐富和聲形態(tài);從傳統(tǒng)五聲性調(diào)性的確立到轉(zhuǎn)換,再到具有現(xiàn)代氣息的調(diào)性游移和多調(diào)性結(jié)構(gòu)。五聲性音樂在技術(shù)層面上始終以適當(dāng)?shù)姆绞襟w現(xiàn)其特有的風(fēng)格與內(nèi)涵。本文選取二十世紀(jì)中國作曲家黃安倫創(chuàng)作的三首五聲性風(fēng)格鋼琴作品作為研究主線,力求進(jìn)入音樂的本體元素與技術(shù)層面,以此來達(dá)到對五聲性音樂風(fēng)格的技術(shù)性認(rèn)知。 論文分為三個(gè)部分,第一部分以音階材料和和弦結(jié)構(gòu)為切入點(diǎn),對多聲結(jié)構(gòu)的材料與形態(tài)作相應(yīng)的分析;第二部分從五聲性風(fēng)格的調(diào)性結(jié)構(gòu)進(jìn)行研究;第三部分將在前兩部分本體研究的基礎(chǔ)上延伸進(jìn)入對五聲性風(fēng)格泛化問題的認(rèn)知和思考,將聯(lián)系部分中外作曲家的五聲性風(fēng)格作品進(jìn)行比較分析,試圖消除我們意識中五聲性風(fēng)格的單質(zhì)性和地域局限,認(rèn)識其多樣性和滲透性。
[Abstract]:In the past decades, the research on harmonic form Chinese five acoustic sound of music always consciously or unconsciously to Western size harmony system as a reference. It is undeniable that the five acoustic music in many aspects with the major minor system music exists tolerance, penetration phenomenon, but as a kind of distinctive the characteristics of the music style, behind it must have its own logic and techniques as the support, and displays through the corresponding specific form. From the scale of material selection to change the chord structure, and then to the chord sequence of rich harmonies form; from the traditional five tone tonality to establish conversion to with a modern tonality wandering and multi tonal structure. Five sound of music at the technical level is always in a proper way reflects its unique style and meaning. This paper selects twentieth Century China composer Huang An Lun Gen The three five tone piano works, as the main line of research, strive to enter the noumenal and technological level of music so as to achieve the technical cognition of the five tone music style.
This paper is divided into three parts, the first part of the chord scale material and structure as the starting point, the analysis of material and form sound structure; the second part carries on a research from the five tone tonality structure style; the third part will extend into the cognition and thinking of five tone style based on generalization problem study on the main body of the first two parts, the five part will contact the Chinese composer sound style works for comparative analysis, elemental and geographical limitations trying to eliminate our consciousness in five tone style, understand its diversity and permeability.

【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：J624.1

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 吳瀅;;黃安倫《序曲與舞曲Ⅰ》“指-腕-肩-腕-指”的演奏處理[J];科教文匯(上旬刊);2013年10期

相關(guān)碩士學(xué)位論文 前2條

1 馮公讓;黃安倫《B調(diào)小提琴協(xié)奏曲》的結(jié)構(gòu)[D];天津音樂學(xué)院;2012年

2 李夢婷;黃安倫鋼琴音樂《舞詩第三號》研究[D];華中師范大學(xué);2013年

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本文編號：1409055