探析古典主义时期和声风格与审美意蕴(上)  

Analysis of Harmonic Style and Aesthetic Meaning during the Classical Period(Part Ⅰ)

作　　者：张楠[1] 张丽[1] 

机构地区：[1]辽宁师范大学音乐学院,辽宁大连116029

出　　处：《辽宁师范大学学报（社会科学版）》2011年第5期116-121,共6页Journal of Liaoning Normal University(Social Science Edition)

基　　金：辽宁省教育厅科研立项课题(2005227)

摘　　要：古典主义时期,大小调功能和声已成为一种定型的技法体系,其严谨的T-S-D-T功能逻辑成为创作实践中作曲家们共同遵循的准则。古典主义协和观念日臻完善,并促进人们感情表达与理性观念、形式美的统一。罗可可风格、华丽风格、情感风格凸显出前古典时期和声风格与人们的审美情趣。维也纳古典乐派是古典主义音乐的顶峰,其完美的古典主义协和观念、协和与不协和的丰富的平衡关系,鲜明地体现出典雅、均衡、严谨的和声风格与审美意蕴。The major-minor functional harmony had become a normal system of technique in the classical period,of which strict T—S—D—T logic becomes the common rules of composers＇practice.The classical consonance is being perfect,which advances the balances between emotional expression,reason and formal aestheics.The harmonic style and aesthetic interest of Pre-classcal period are exposed by Rococo,gallant and emotional style.Viennese Classcal School is the summit of the classical music,of which the perfect classical consonance and the varied relationship between the consonance and dissonance clearly reflect the harmonic style and aesthetic meaning in elegance,balance and rigor.

关 键 词：古典主义时期 和声风格 协和与不协和 审美意蕴 

分 类 号：S601[农业科学—园艺学]