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作 者:刘康华[1]
机构地区:[1]中央音乐学院作曲系
出 处:《乐府新声(沈阳音乐学院学报)》2012年第1期5-25,1,共21页The New Voice of Yue-Fu(Journal of the Shenyang Conservatory of Music)
摘 要:和声教学是培养作曲家的必由之路。传统和声的教学内容,是围绕着调性这一核心而展开的,其全部手法表现为,如何在创作中运用和弦及其相互关系来建立调性和转换调性,从而通过主调多声部形式来陈述和发展乐思,构建完整的丰富生动的音响艺术作品。"单一调性的和声技巧"是体现和声思维与技法发展的最重要的部分,从自然音体系到变化音体系体现了调性范围的扩大,即主和弦"引力"范围的扩大,这就是"调性扩张"。然而19世纪晚期以及20世纪早期的作曲家,甚至包括20世纪依然保持调性写作的作曲家的那些更为扩张的调性陈述手段,大多还没能如同传统和声教学内容那样系统地进入我们的教学实践之中。本文拟从"运用多元调关系交替"、"运用三度关系"、"运用三全音关系"、"运用声部线性进行关系"、"运用单一结构关系"、以及"运用和弦复合关系"等六个调性扩张的方面,试图从教学的角度,对它们的技法特征、思维特点、功能意义等从教学逻辑上作相应的梳理,并对某些理论问题作进一步的探讨,以期为调性和声教学体系的完善提供参考。Harmony teaching is an inevitable way for producing composers. The content of traditional harmony teaching is centered around the core of tonality, which focuses on how to use chords and their relationship to establish and convert tonality in order to state and develop musical ideas through the homophonic multiparts and to construct the complete, rich and vivid audio art works. "The single tonal harmony technique" embodies the most important part of harmony thought and technique development, and the evolvement from diatonic system to chromatic system shows the tonal range expansion, namely the range expansion of the main chord "gravity", i.e. "tonality expansion". Unlike the traditional harmony teaching content, however, most of the tonality expansion writing methods used by composers of the late 19th and 20th centuries haven' t been employed in our teaching practice. From such tonality expansion aspects as applying multiple tonal relation alternating, using third relation, employing tritone relation, etc., this paper, from the teaching viewpoint, clarifies their technique features, thinking characteristics and functional significance and also makes further discussion about some theoretical problems in order to provide some reference for the perfection of tonality harmony teaching system.
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