本文關(guān)鍵詞： 材料看頭—調(diào)性看尾 調(diào)性布局 轉(zhuǎn)調(diào)與離調(diào) 明示與暗示 主題變連接(主變連) 離調(diào)擴(kuò)張句法內(nèi)部的長(zhǎng)度(離擴(kuò)內(nèi))　出處：《天津音樂學(xué)院學(xué)報(bào)》2016年03期 　論文類型：期刊論文

【摘要】：在傳統(tǒng)曲式分析當(dāng)中,調(diào)性問題最容易被忽視。在分析中既不能將調(diào)性視為與結(jié)構(gòu)規(guī)模的“同義語”,又不能脫離音樂材料孤立看待調(diào)性問題。在分析當(dāng)中材料與調(diào)性互為“捆綁關(guān)系”,又與結(jié)構(gòu)規(guī)模相伴,以樂句樂段為單位去看待調(diào)性組織,而不是三兩小節(jié)就劃分一個(gè)調(diào)性——在同一調(diào)性組織中,“不夠規(guī)模的調(diào)性終止式無效”。所有這些調(diào)性分析的基礎(chǔ)原則,應(yīng)當(dāng)引起足夠的重視。否則,曲式分析則會(huì)變成“無原則的劃界”,這種分析既與還原音樂創(chuàng)作無關(guān),也會(huì)在大量的共性分析現(xiàn)象中迷失分析方向和分析目的,得出形形色色不同的曲式結(jié)論也就不足為奇了。
[Abstract]:In the traditional form analysis, The problem of tonality is most easily ignored. In analysis, tonality cannot be regarded as a "synonym" of structural scale, nor can it be viewed in isolation from musical materials. In the analysis, there is a "binding relationship" between the material and the tonality. And with the size of the structure, Look at the tonality in terms of the phrase, rather than dividing it into three or two subsections-- in the same tonality organization, "tonality terminations that are not large enough". All of these basic tenets of tonality analysis. We should pay enough attention to it. Otherwise, it will become "unprincipled demarcation", which has nothing to do with reducing music creation, and will also lose its direction and purpose in a large number of common analysis phenomena. It is not surprising to draw conclusions of various forms.
【作者單位】： 中央音樂學(xué)院作曲系;
【分類號(hào)】：J614.3

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