本文選題：五聲縱合化　切入點(diǎn)：結(jié)構(gòu)形態(tài)　出處：《天津音樂(lè)學(xué)院學(xué)報(bào)》2017年03期

【摘要】：當(dāng)一位作曲家以中國(guó)文化為創(chuàng)作靈感的源泉,并選擇中國(guó)傳統(tǒng)音樂(lè)為音高素材時(shí),他將面臨的是如何選擇與該音樂(lè)風(fēng)格相一致的多聲部音高組織手法進(jìn)行創(chuàng)作。那么,直接來(lái)源于中國(guó)五聲調(diào)式的五聲縱合化的和聲材料無(wú)疑是有效的材料選擇。本文以周龍?jiān)缙谑覂?nèi)樂(lè)作品為研究對(duì)象,以五聲縱合化和聲材料為研究的切入點(diǎn),研究該材料在周龍作品中的具體運(yùn)用手法,旨在揭示五聲縱合化和聲材料根據(jù)自身特點(diǎn)的不同形態(tài)以及結(jié)合方式。
[Abstract]:As a composer with Chinese culture as a source of inspiration, and choose China traditional music as the pitch, he will face is how to choose to be consistent with the music style of polyphonic pitch organization practices for the creation. Then, directly from the China five tone sound of the five vertical integration of material and no doubt is the choice of effective materials. This week long early chamber works as the research object, with five longitudinal acoustic harmony materials as the research breakthrough point, study the specific use practices of the material in Zhou long in the works, to reveal the five longitudinal acoustic harmony materials according to the different forms of its own characteristics and the combination.

【作者單位】： 浙江音樂(lè)學(xué)院作曲與指揮系;
【基金】：浙江音樂(lè)學(xué)院校級(jí)課題2016KL017資助項(xiàng)目
【分類號(hào)】：J614.1

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本文編號(hào)：1730194