本文關(guān)鍵詞：五聲性調(diào)式和聲的風(fēng)格特征及成因研究　出處：《湖南師范大學(xué)》2007年碩士論文　論文類型：學(xué)位論文

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【摘要】： 近一個世紀以來，在五聲性調(diào)式和聲從萌芽到發(fā)展的進程中，如何保持和聲的民族風(fēng)格，如何把傳統(tǒng)大小調(diào)和聲與我國的五聲性音樂進行有機結(jié)合，一直是眾多音樂家們在探索的問題。從蕭友梅、黃自、趙元任開始，賀綠汀、江定仙、張肖虎、黎英海、趙宋光、桑桐、羅忠昒、樊祖蔭等一大批的音樂家投入到了這一領(lǐng)域的研究中去，他們或撰文從理論上進行探討與總結(jié)，或直接進行具有創(chuàng)新性地創(chuàng)作，取得了很大的成就。 把握和聲的民族風(fēng)格特征是五聲性調(diào)式和聲的核心和靈魂，如何把握好這種風(fēng)格使其既有五聲性特征又要具有時代性，和聲的手法是關(guān)鍵，，也就是說如何運用好我國民族音樂中五聲性音樂的一些手法，以及如何把傳統(tǒng)的和聲手法進行合理的改造而加以運用。本文就是以五聲性調(diào)式和聲的手法為著眼點，從六個方面對這些手法與如何保持和聲的五聲性風(fēng)格之間的關(guān)系進行較為全面的闡述和總結(jié)。 五聲性調(diào)式和聲的發(fā)展過程及成因是本文研究的另一方面，和聲的“民族化”經(jīng)歷了一個曲折的發(fā)展過程，而且還將在不斷地繼承和創(chuàng)新中發(fā)展下去，弄清這一發(fā)展進程及原理為日后更好地進一步發(fā)展和創(chuàng)新五聲性調(diào)式和聲打下良好的基礎(chǔ)。 盡管五聲性調(diào)式和聲尚未形成一個完整而規(guī)范的體系，但在不斷發(fā)展的過程中已逐漸茁壯成長起來，不久的將來定能長成參天大樹，因而在民族音樂領(lǐng)域里對五聲性調(diào)式和聲無論是進行實踐創(chuàng)作還是理論研究，都有其歷史價值和現(xiàn)實意義。
[Abstract]:In the past century, how to maintain the national style of harmony and how to combine the traditional harmony in big and small major with the pentatonic music in the process from the germination to the development of pentatonic harmony. From Xiao Youmei, Huang Zi, Zhao Yuanren, he Luting, Jiang Dingxian, Zhang Xiaohu, Li Yinghai, Zhao Songguang, Sang Tong, Luo Zhongyu. A large number of musicians, such as Fan Zuyin, have been involved in the research in this field, and they have made great achievements by writing articles to discuss and summarize in theory, or to create innovatively directly. Grasping the national style characteristics of harmony is the core and soul of pentatonic harmony. How to grasp this style well makes it have both the characteristic of pentatonic and the character of the times, the key of harmony is the technique of harmony. That is to say, how to make good use of some techniques of pentatonic music in Chinese folk music. And how to carry on the reasonable transformation and the application of the traditional harmony technique. The relationship between these techniques and how to maintain the pentatonic style of harmony is expounded and summarized from six aspects. The development process and cause of formation of pentatonic harmony is the other side of this study. The "nationalization" of harmony has undergone a tortuous development process, and will continue to develop in succession and innovation. The understanding of this development process and principle will lay a good foundation for further development and innovation of pentatonic harmony in the future. Although the pentatonic harmony has not yet formed a complete and standardized system, but in the process of continuous development has gradually grown up, will be able to grow into giant trees in the near future. Therefore, in the field of folk music, it is of historical value and practical significance to study the pentatonic harmony both in practice and in theory.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：J614.1

【引證文獻】

相關(guān)碩士學(xué)位論文 前4條

1 成源;劉nr交響音詩《土樓回響》和聲技法研究[D];江西師范大學(xué);2011年

2 劉小宇;中國五聲性調(diào)式和弦結(jié)構(gòu)及色彩分析[D];東北師范大學(xué);2010年

3 譚薇;湖南靖州多聲部苗族“歌

本文編號：1434121