【摘要】： 中國專業(yè)性的多聲部音樂創(chuàng)作,始于20世紀(jì)20年代初。作曲家在進(jìn)行音樂創(chuàng)作時(shí),在旋律的寫作上往往會(huì)采用五聲性音調(diào)。而在中國的傳統(tǒng)音樂中,雖然存在著一些多聲部音樂的組合方式與和聲因素,但并不構(gòu)成完整的和聲的體系。于是在多聲部音樂的創(chuàng)作中所運(yùn)用的和聲,大多是歐洲大、小調(diào)體系的和聲方法。但是二者的調(diào)式基礎(chǔ)不同,因此在旋律與和聲之間,必定會(huì)在某些方面出現(xiàn)風(fēng)格上的矛盾。我們?cè)谶M(jìn)行多聲部音樂創(chuàng)作時(shí),除了旋律的寫作之外,還會(huì)遇到配和聲的問題。同中國其它地區(qū)的民歌一樣,五聲調(diào)式音階也是朝鮮族音樂曲調(diào)的基礎(chǔ)。為了使和聲語言更適應(yīng)本民族音樂的特點(diǎn),我們必須研究五聲性調(diào)式的特征及其和聲手法,因?yàn)檫@是解決朝鮮族音樂旋律創(chuàng)作與和聲的民族風(fēng)格等問題的一個(gè)重要前提。 民族和聲作為具有自身特點(diǎn)的五聲旋律和聲方法之一,它包含了和弦結(jié)構(gòu),和聲進(jìn)行,調(diào)式、調(diào)性的擴(kuò)展方法等方面。 本論文選定中國五聲性調(diào)式和聲為研究對(duì)象,通過分析,分別從調(diào)式特征、和聲結(jié)構(gòu)、和聲的功能、和聲的應(yīng)用等幾個(gè)方面總結(jié)出一個(gè)共用的和聲手法。希望這一嘗試能為今后的朝鮮族多聲部音樂創(chuàng)作中的和聲應(yīng)用提供理論依據(jù)。
[Abstract]:Chinese professional multi-part music creation began in the early 1920s. Composers often use pentatonic tones in melody writing. In Chinese traditional music, although there are some multi-part music combination and harmony factors, it does not constitute a complete harmony system. Therefore, most of the harmonies used in the creation of multi-part music are the harmony methods of the European major minor system. But the two modes are different, so there must be some style contradiction between melody and harmony. In addition to melody writing, we also encounter the problem of harmony. Like other folk songs in China, the pentatonic scale is the basis of Korean music. In order to adapt the harmony language to the characteristics of our own national music, we must study the characteristics of the pentatonic mode and its harmony techniques, because this is an important premise to solve the problems of melody creation and the national style of harmony in Korean music. As one of the five melodic harmonies with its own characteristics, national harmony includes chord structure, harmony process, modulation, tonality expansion and so on. In this paper, we choose Chinese pentatonic harmony as the research object. Through analysis, we summarize a common harmony technique from the aspects of modulation characteristics, harmony structure, harmony function, harmony application and so on. It is hoped that this attempt will provide a theoretical basis for the application of harmony in Korean multi-part music creation in the future.
【學(xué)位授予單位】：延邊大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類號(hào)】：J614.1

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 唐宇翔;論我國民族民間音樂元素在視唱練耳教學(xué)中的運(yùn)用[D];湖南師范大學(xué);2011年

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本文編號(hào)：2357786