發(fā)布時(shí)間：2018-01-17 00:31

  本文關(guān)鍵詞：和聲教學(xué)中調(diào)性擴(kuò)張技巧的深化與功能關(guān)系的拓展　出處：《樂府新聲(沈陽音樂學(xué)院學(xué)報(bào))》2012年01期 　論文類型：期刊論文

  更多相關(guān)文章： 和聲 技法 教學(xué) 調(diào)性擴(kuò)張 功能拓展

【摘要】：和聲教學(xué)是培養(yǎng)作曲家的必由之路。傳統(tǒng)和聲的教學(xué)內(nèi)容,是圍繞著調(diào)性這一核心而展開的,其全部手法表現(xiàn)為,如何在創(chuàng)作中運(yùn)用和弦及其相互關(guān)系來建立調(diào)性和轉(zhuǎn)換調(diào)性,從而通過主調(diào)多聲部形式來陳述和發(fā)展樂思,構(gòu)建完整的豐富生動(dòng)的音響藝術(shù)作品。"單一調(diào)性的和聲技巧"是體現(xiàn)和聲思維與技法發(fā)展的最重要的部分,從自然音體系到變化音體系體現(xiàn)了調(diào)性范圍的擴(kuò)大,即主和弦"引力"范圍的擴(kuò)大,這就是"調(diào)性擴(kuò)張"。然而19世紀(jì)晚期以及20世紀(jì)早期的作曲家,甚至包括20世紀(jì)依然保持調(diào)性寫作的作曲家的那些更為擴(kuò)張的調(diào)性陳述手段,大多還沒能如同傳統(tǒng)和聲教學(xué)內(nèi)容那樣系統(tǒng)地進(jìn)入我們的教學(xué)實(shí)踐之中。本文擬從"運(yùn)用多元調(diào)關(guān)系交替"、"運(yùn)用三度關(guān)系"、"運(yùn)用三全音關(guān)系"、"運(yùn)用聲部線性進(jìn)行關(guān)系"、"運(yùn)用單一結(jié)構(gòu)關(guān)系"、以及"運(yùn)用和弦復(fù)合關(guān)系"等六個(gè)調(diào)性擴(kuò)張的方面,試圖從教學(xué)的角度,對(duì)它們的技法特征、思維特點(diǎn)、功能意義等從教學(xué)邏輯上作相應(yīng)的梳理,并對(duì)某些理論問題作進(jìn)一步的探討,以期為調(diào)性和聲教學(xué)體系的完善提供參考。
[Abstract]:Harmony teaching is the only way to cultivate composers. The teaching content of traditional harmony is developed around the core of tonality. How to use chords and their interrelations in the creation to establish tonality and transform tonality, so as to express and develop music through the main tone multi-part form. It is the most important part of the development of harmony thinking and technique to construct complete rich and vivid works of sound art. "single tone harmony technique" is the most important part of reflecting the development of harmony thinking and techniques. From the natural sound system to the changing sound system, the expansion of the tonality range, that is, the expansion of the main chord's "gravity", is the "tonality expansion". However, in the late 19th century and the early 20th century, the composer. Even the more expansive narrative techniques include those composers who still kept tonality writing in 20th century. Most of them have not entered our teaching practice as systematically as the traditional harmony teaching contents. This paper intends to use the "use of the multi-tone relationship alternately", "the use of the three-degree relationship", "the use of the three-tone relationship". This paper tries to make use of the six aspects of tonality expansion, such as "using the linear relationship of the vocal part", "using the single structural relation" and "using the chord compound relation", to try to analyze their technical characteristics and thinking characteristics from the angle of teaching. The functional meaning and so on make the corresponding combing from the teaching logic, and make the further discussion to some theoretical problems, in order to provide the reference for the perfection of the teaching system of tonality and harmony.
【作者單位】： 中央音樂學(xué)院作曲系;
【分類號(hào)】：J614.1
【正文快照】： 緒論和聲教學(xué)是培養(yǎng)作曲家的必由之路。規(guī)范的和聲教學(xué)都是以18、19世紀(jì)作曲大師們的音樂創(chuàng)作為典范。在那個(gè)時(shí)期,作曲家們?cè)趧?chuàng)作中普遍運(yùn)用的是,以自然大調(diào)及和聲小調(diào)為和聲寫作基本調(diào)式的多聲部音樂體系,即大小調(diào)式和聲體系,人們通常也在歷史與風(fēng)格的范疇內(nèi)稱其為傳統(tǒng)和聲

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本文編號(hào)：1435543