本文關(guān)鍵詞： 五聲性音樂元素 音階 調(diào)式 和聲　出處：《南京航空航天大學(xué)》2006年碩士論文　論文類型：學(xué)位論文

【摘要】： 本文以對中西方五聲性音樂元素運(yùn)用的異同為研究起點(diǎn),就中外近現(xiàn)代音樂作品中五聲性旋律及其和聲手法的運(yùn)用、和聲的民族特點(diǎn)等問題進(jìn)行分析,闡述和探索作曲家的音樂思維、作品的表現(xiàn)方法,以及民族風(fēng)格等深層次的問題。分析和研究我國民族民間音樂元素與近現(xiàn)代技法結(jié)合的根源、目的及意義。從而得出這樣的結(jié)論:植根于我國民族民間音樂沃土中的現(xiàn)代音樂作品不僅不是西方現(xiàn)代音樂的復(fù)制品,而且還應(yīng)視之為中華民族音樂文化傳統(tǒng)在新的歷史時(shí)期和新的審美層次上的延續(xù)。 在近現(xiàn)代中西文化的交流中,我們總是處在“逆差”的地位,輸入的多,輸出的少。西方音樂對中國音樂的影響是全面的,成體系的,我們對他們的影響是局部的,點(diǎn)線式的。我們要想打破這種被動的地位,就必須在當(dāng)今公認(rèn)的“公式”中尋求新的發(fā)展,這種發(fā)展并不意味著對傳統(tǒng)藝術(shù)經(jīng)驗(yàn)的排斥和否定,傳統(tǒng)音樂語言在我國音樂創(chuàng)作中的應(yīng)用不但沒有耗盡,而且在當(dāng)前還占有主導(dǎo)地位。 本文分為三章,第一章研究我國悠遠(yuǎn)的民族民間傳統(tǒng)語言——五聲性音樂元素,本章分為兩節(jié)——中國五聲音階及中國傳統(tǒng)調(diào)式和聲;第二章分為兩節(jié),研究分析西方近現(xiàn)代一些經(jīng)典音樂作品中五聲性元素的運(yùn)用及相應(yīng)作曲技法。從西方作曲家的民族背景及創(chuàng)作風(fēng)格等問題著手,通過比較揭示中西運(yùn)用五聲性元素本質(zhì)的不同,并深入剖析西方近現(xiàn)代音樂與我國傳統(tǒng)五聲性音樂元素融合的可行性及二者結(jié)合的技法理論。最后,第三章對用西方現(xiàn)代技法詮釋中國傳統(tǒng)五聲性音樂元素的中國現(xiàn)代音樂作品進(jìn)行分析研究,歸納總結(jié)出我國現(xiàn)代音樂作品中兼具民族與時(shí)代特征的一些成功方法。
[Abstract]:Based on the similarities and differences between Chinese and Western five tone music elements used as the starting point, the five sound of melody and harmony in the modern music works in Chinese and foreign, national characteristics and other issues and analysis, studies and explores the composer's music thinking, performance method works, and other deep-seated national style root. Analysis and research of Chinese national folk music elements and modern techniques with the purpose and significance. Thus conclude that the copy is rooted in the fertile soil of Chinese national folk music in modern music works not only in western modern music, but also should be regarded as a continuation of traditional Chinese folk music in the new historical period and new aesthetic level.
In modern western culture, we are always in the "deficit" status, input, output and less influence of western music on music. China is comprehensive, systematic, we are local to their impact point line. We want to break this position by moving and we must seek new development in recognized "formula", this does not mean that the rejection of the traditional artistic experience and negative application of traditional music language in Chinese music creation has not been exhausted, but also in the dominant position.
This paper is divided into three chapters, the first chapter of the five acoustic music elements in China long traditional folk language, this chapter is divided into two sections: five Chinese and China pentatonic scale traditional mode harmony; the second chapter is divided into two sections, it analyses some modern western classical music works in five acoustic elements and the corresponding the technique of composition. Starting from the western composers of the ethnic background and style of creation, revealed by comparing western using different five tone elements of nature, and in-depth analysis of modern western music and the feasibility of integration of China traditional five tone music elements and the combination of the two techniques theory. Finally, analysis of the western modern the traditional interpretation of the five acoustic techniques China music works China modern music third chapter, summed up our country's modern musical works in both the national and the characteristics of the times of some success Method.

【學(xué)位授予單位】：南京航空航天大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：J614.5

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 劉小宇;中國五聲性調(diào)式和弦結(jié)構(gòu)及色彩分析[D];東北師范大學(xué);2010年

2 葛愛新;潘德列茨基《第八交響曲》音高創(chuàng)作觀念研究[D];山東藝術(shù)學(xué)院;2012年

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本文編號：1485187