本文選題：周湘林 + 天馬　； 參考：《音樂藝術(shù)(上海音樂學(xué)院學(xué)報(bào))》2017年01期

【摘要】：周湘林《天馬》以哈薩克民歌為基礎(chǔ)構(gòu)建音高組織體系。本文從調(diào)式音列、和弦結(jié)構(gòu)、旋律與和弦的關(guān)系、和聲運(yùn)動(dòng)、調(diào)性等各個(gè)方面對(duì)其音高組織體系尤其是和聲現(xiàn)象進(jìn)行剖析�！短祚R》的音高組織體系主要是以調(diào)式音列——五聲性調(diào)式與七聲自然調(diào)式為基礎(chǔ)的,尤其是旋律,充分保留了其音樂的民族特色,而在具體的和聲縱向構(gòu)成、橫向運(yùn)動(dòng)以及調(diào)性布局的處理上,又體現(xiàn)出來源于調(diào)式音列特性音程的二度音程與五度音程的主導(dǎo)地位,這種和聲處理方式為作品帶來了濃郁的現(xiàn)代技法特征�！短祚R》和聲處理技法對(duì)于年輕的作曲學(xué)習(xí)者、研究者提供了可資參考的借鑒意義。
[Abstract]:Zhou Xianglin, Tianma, based on Kazakh folk songs, constructs the pitch organization system. In this paper, we discuss the relation between melody and chord, harmonic motion, the structure of chord, the sequence of modulation, the structure of chord, the relationship between melody and chord. The pitch organization system, especially the harmony phenomenon, is analyzed in tonality and other aspects. The pitch organization system of "Tianma" is mainly based on the tone series-five tone mode and the 7-tone natural mode, especially the melody It fully retains the national characteristics of its music, and in the concrete vertical composition of harmony, lateral movement and the disposition of tone layout, it also reflects the dominant position of the second and fifth intervals, which come from the characteristic interval of the tone series. This kind of harmony processing method has brought the rich modern technique characteristic to the work. The harmony processing technique of "Tianma" provides the reference meaning for the young composer learners.
【作者單位】： 上海音樂學(xué)院作曲系;
【分類號(hào)】：J614.1

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 王中余;;周湘林《跳樂》的創(chuàng)作理念與核心技術(shù)[J];音樂藝術(shù)(上海音樂學(xué)院學(xué)報(bào));2016年01期

【共引文獻(xiàn)】

相關(guān)期刊論文 前1條

1 姜之國;;周湘林《天馬》中的和聲運(yùn)用研究[J];音樂藝術(shù)(上海音樂學(xué)院學(xué)報(bào));2017年01期

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本文編號(hào)：1940122