【摘要】：在調(diào)性音樂(lè)理論中,調(diào)式和弦(尤其是主、屬和弦)是揭示作品調(diào)性、調(diào)式的重要依據(jù)。而對(duì)于一個(gè)多調(diào)性的作品,似乎可以肯定地說(shuō),它們彼此之間一定存在著某種內(nèi)在的關(guān)聯(lián),如近關(guān)系調(diào)、同主音調(diào)等。在此思路的引導(dǎo)和啟發(fā)下,本文借助于調(diào)式中某些和弦特殊的功能屬性,提出關(guān)于"同低音調(diào)"體系的理論構(gòu)想。所謂"同低音調(diào)",是將調(diào)式中某特定和弦作同低音轉(zhuǎn)換,再集合這些和弦的不同歸屬而形成的一個(gè)調(diào)群體系。所以,"同低音調(diào)"的內(nèi)涵實(shí)際上也是一種多調(diào)間的邏輯關(guān)系。
[Abstract]:In the theory of tonality music, the toning chord (especially the master, belonging to the chord) is the important basis to reveal the tonality and mode of the works. For a polyphonic work, it seems certain that there must be some internal relationship between them, such as the near relation tone, the master tone, and so on. Under the guidance and inspiration of this idea, this paper, with the help of some special functional properties of chords in the mode, puts forward a theoretical conception about the system of "same bass tone". The so-called "same bass tone" is a system of tone groups formed by converting a certain chord in the mode to the same bass, and then collecting the different attribution of these chords. Therefore, the connotation of "the same bass" is actually a kind of logic relationship between polyphonic tones.
【作者單位】： 武漢音樂(lè)學(xué)院作曲系;
【分類(lèi)號(hào)】：J614

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本文編號(hào)：2126565