本文選題：調(diào)域 + 調(diào)域分析　； 參考：《上海音樂學(xué)院》2007年博士論文

【摘要】： 本文以中國近代音樂創(chuàng)作中的和聲技法為對(duì)象，總結(jié)其技法特點(diǎn)，分析其思想成因，觀察其歷史走向，力求通過技術(shù)的分析及歸納，歷史的梳理與總結(jié)，為中國近代音樂史學(xué)提供新的學(xué)術(shù)視域。 本文探求近代和聲技法中民族風(fēng)格的形成與發(fā)展，在此基礎(chǔ)上，宏觀和歷史地概括出近代和聲技法的調(diào)域類型，即調(diào)性、調(diào)式、調(diào)中心三種模式。指出近代以來相當(dāng)長的時(shí)間里單一調(diào)式模式的歷史走向及思想成因。通過實(shí)例說明，調(diào)域類型在分析和聲技法、風(fēng)格變化及作曲家個(gè)性特色方面所具有的實(shí)用價(jià)值。 本文采用調(diào)域分析方法，這是從中國近代音樂創(chuàng)作的實(shí)際出發(fā)，整合西方的和聲理論，吸納中國宮調(diào)理論的研究成果，從而形成的和聲研究方法。 本文調(diào)域這一概念。是對(duì)已有的“調(diào)域”或“均”術(shù)語的創(chuàng)造性的發(fā)揮，內(nèi)涵不變而外延由原7個(gè)音高材料延伸至12個(gè)音高材料。調(diào)域分析就是對(duì)作品中的音高材料的組織原則以及擴(kuò)展方式進(jìn)行分析。其方法的理論基礎(chǔ)主要來源于：勛伯格的單一調(diào)性理論、巴托克調(diào)式綜合理論、興德米特的調(diào)中心理論，這三種理論對(duì)中國近代和聲技法中出現(xiàn)的調(diào)性、調(diào)式及調(diào)中心的和聲現(xiàn)象具有重要的參考價(jià)值。本文對(duì)三種理論在調(diào)域拓展方式上扮演的角色進(jìn)行了深入解讀，并整合其中的合理內(nèi)核運(yùn)用于自己的研究。 本文以調(diào)域擴(kuò)展方式的變化作為中國近代和聲技法發(fā)展的敘事主線，通過對(duì)典型作品進(jìn)行調(diào)域擴(kuò)展方式的調(diào)域分析，揭示出近代從主音確立、到調(diào)式旋宮、再到調(diào)中心運(yùn)用的和聲發(fā)展過程，指出在這個(gè)過程中，民族風(fēng)格得到實(shí)現(xiàn)，并在調(diào)域類型的歸納中再度呈現(xiàn)出民族風(fēng)格的多樣性。 本文在和聲技法中探索了近代民族風(fēng)格的實(shí)現(xiàn)途徑，想借以說明，在中國近代和聲技法中，“科學(xué)法子”的不斷深入，民族要素也在不斷加強(qiáng)，兩者相輔相成，尤如兩翼，托起中國近代音樂的創(chuàng)作，騰空崛起，迅速發(fā)展。最后提出，學(xué)習(xí)西方技法，挖掘民族要素，，融合中西之長，走中西結(jié)合的創(chuàng)作道路，這是中國近代音樂史的歷史事實(shí)，也應(yīng)是當(dāng)下謀求中國音樂創(chuàng)作的價(jià)值取向。 本文的學(xué)術(shù)成果：第一，首次提出調(diào)域新概念及調(diào)域分析方法；第二，首次提出近代和聲技法調(diào)域類型的三種模式和單一調(diào)式模式的歷史走向及思想成因。第三，將和聲學(xué)與音樂史學(xué)相結(jié)合，融思想、技法、作品為一體，開辟中國近代音樂史學(xué)跨學(xué)科研究的新領(lǐng)域。
[Abstract]:This article takes Chinese modern music creation in harmony technique as the object, summarizes its technique characteristic, analyzes its thought origin, observes its historical trend, strives through the technical analysis and the induction, the history combs and the summary. To provide a new academic horizon for Chinese modern music history. This paper explores the formation and development of national style in modern harmony techniques, and on the basis of this, generalizes the three modes of modern harmony techniques, I. E. tonality, mode and center of harmony, macroscopically and historically. It points out the historical trend and ideological cause of single mode in modern times. The practical value of the tonal field type in the analysis of harmonic techniques, style changes and the individual characteristics of composers is illustrated by examples. This paper adopts the method of tone domain analysis, which is based on the reality of Chinese modern music creation, integrates the western harmony theory, and absorbs the research results of Chinese palace tune theory, thus forming the research method of harmony. In this paper, the concept of domain. It is the creative exertion of the existing terms of "modulation field" or "average", the connotation of which is unchanged and the extension extends from the original 7 pitch materials to 12 pitch materials. Domain analysis is the analysis of the organization principle and expansion mode of pitch materials in works. The theoretical basis of its method mainly comes from Schoenberg's single tonality theory, Bartok's mode synthesis theory, and Hendermitt's centering theory. The harmonic phenomenon of modulation and modulation center has important reference value. In this paper, the roles of the three theories in the expansion of the modulation domain are deeply interpreted, and the rational kernel is integrated into their own research. This paper takes the change of the mode of tonality expansion as the main narrative thread of the development of modern Chinese harmonic techniques. By analyzing the mode of tonality expansion of typical works, this paper reveals the modern times from the establishment of the subject to the mode of rotation. In the process of harmony development, it is pointed out that the national style has been realized in this process, and the diversity of national style has been reappeared in the induction of the types of tone field. This paper explores the ways to realize the modern national style in the harmony technique, in order to explain that, in the modern Chinese modern harmony technique, the "scientific method" is deepening, and the national elements are also being strengthened, the two are complementary, such as the two wings. Lift up the creation of modern Chinese music, rising, rapid development. Finally, it is the historical fact of Chinese modern music history and the value orientation to seek Chinese music creation at present to study western techniques, excavate national elements, merge the strong points of Chinese and western, and take the road of combining Chinese and western creation. The academic achievements of this paper are as follows: first, a new concept of tone domain and its analysis method are put forward for the first time; second, the historical trend and ideological causes of three modes and single mode of modern harmony technique are put forward for the first time. Third, combine harmony acoustics with music history, and combine ideas, techniques and works as a whole to open up a new field of interdisciplinary research in modern Chinese music history.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2007
【分類號(hào)】：J614.1

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1 劉曉江;中國近代和聲技法的調(diào)域類型及歷史走向[D];上海音樂學(xué)院;2007年

本文編號(hào)：1912012