【摘要】：附加音和弦是和聲由簡(jiǎn)入繁發(fā)展過程中的產(chǎn)物,除了豐富和聲色彩、擴(kuò)充和聲素材等實(shí)踐意義,作為連接傳統(tǒng)和弦與現(xiàn)代和音之間的橋梁,也具有重要的理論研究?jī)r(jià)值。19世紀(jì)末至20世紀(jì)初附加音和弦被明確為西方音樂的標(biāo)準(zhǔn)和聲語(yǔ)匯,該時(shí)期也是所謂"調(diào)性邊緣化"時(shí)期,此間附加音和弦的表現(xiàn)形式較以往而言有所不同。本文通過對(duì)作品中附加音和弦較為典型的應(yīng)用情況進(jìn)行分析,從而在一定程度上體現(xiàn)出該和弦在調(diào)性衰微過程中發(fā)揮的重要作用。
[Abstract]:In addition to enriching the color of harmony and expanding the practical significance of harmony material, it is used as a bridge between traditional chord and modern harmony. From the end of the 19th century to the beginning of the 20th century, the appended chords were clearly regarded as the standard vocabularies of western music. This period was also a period of so-called "tonality marginalization". The performance of the additional chord is different from that of the past. Through the analysis of the typical application of the additional chords in the works, this paper shows to some extent the important role played by the chords in the process of tonal decay.
【分類號(hào)】：J614.1

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1 袁芥芳;;琵琶附加音板的嘗奻[J];樂器科技;1977年04期

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本文編號(hào)：2354734