本文選題：和弦 + 變音和弦　； 參考：《音樂創(chuàng)作》2015年10期

【摘要】：韋伯作為歐洲音樂史上浪漫時期的重要作曲家,浪漫主義歌劇奠基人、鋼琴家兼指揮家,學術界深入研究和借鑒其作曲理論,有助于借鑒、發(fā)展和弘揚中國民族音樂藝術。一直以來,國內的學者在研究韋伯《f小調第一協(xié)奏曲》方面做了大量的貢獻。無論從創(chuàng)作的調式調性、演奏技術的角度、曲式分析的角度以及音樂內涵的表達等方面,都做了詳細的論述,同時,也發(fā)表了許多有價值的學術論文,這些都是可喜可賀的。但筆者認為:對于韋伯《f小調第一單簧管協(xié)奏曲》和聲藝術的研究一直比較少,甚至是空缺。因此,這項研究對國內學術界開啟韋伯協(xié)奏曲的大門有一定啟示作用,同時,也能為單簧管協(xié)奏曲創(chuàng)作的和聲應用起到參考作用。
[Abstract]:As an important composer in the romantic period of European music history, the founder of Romantic opera, pianist and conductor, the academic circles deeply study and draw lessons from his composing theory, which is helpful to draw lessons from, develop and promote the Chinese folk music art. All along, domestic scholars have made a lot of contributions to the study of Webb's Concerto No. 1 in F minor. No matter from the aspects of the modulation of creation, the technical angle of playing, the angle of musical form analysis and the expression of music connotation, the author has made a detailed exposition. At the same time, many valuable academic papers have been published, all of which can be congratulated. However, the author thinks that the research on the harmony art of the first clarinet Concerto in Weber's F minor is still relatively few, or even vacant. Therefore, this research has certain enlightenment function to the domestic academic circles to open the door of the Webb concerto, at the same time, it can also play a reference role in the application of the harmony of the clarinet concerto creation.
【作者單位】： 湖州師范學院藝術學院;
【分類號】：J621.4

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1 伏春迎;;《鄉(xiāng)土小調》與《對花》的演奏分析[J];安徽文學(下半月);2006年12期

2 趙s鈑，

本文編號：1981171