中国当代作曲家和声语言构成的思维与技法研究  

A Study on the Thinking and Technique of Harmonic Language of Chinese Contemporary Composers

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）》2014年第1期22-51,3,共30页The New Voice of Yue-Fu(Journal of the Shenyang Conservatory of Music)

摘　　要：从上世纪80年代起,中国作曲家音乐创作中的和声语言开始摆脱共性写法的桎梏,开创了探索和声(音高结构)个性写法的百家争鸣的局面。这种探索从开始的那天起,便离不开它的"本土"特征,即1、以作曲家对中国文化的理解或感受为基础,2、以创作相应的个性化和声材料为核心,3、以西方现代音高组织技术为借鉴,4、通过构建新的材料相互关系,以适应和声材料的基本特性以及中国音乐文化的特定理念。这反映了中国当代作曲家和声语言构成的思维与技法的深层因素。笔者认为,和音、音组、音列、音响等四种和声的基本结构成分,涵盖了20世纪音高组织手法从思维到技法的一些最重要的、基础性的内容,同样能包含中国当代作曲家的音乐创作。文章试图以这些分类为基础,通过对具体音乐作品的分析与研究,以解析中国当代作曲家创作中和声语言构成的思维与技法特征,从而深入了解作曲家的创作个性与风格。From the 1980s, Chinese composers began to get rid of the binding of common writing nature in their harmony language and opened up the contentious aspect of individual harmony exploration （pitch structure）. From its inception, this explora tion has never broken away from the ＂indigenous＂ features： 1. Its basis is compos ers＇ understanding and feeling for Chinese culture; 2. Its core lies in individual har mony materials; 3. It applles the modem Westem pitch organlzation techniques forreference; 4. By establishing the new material interrelationship, this kind of explo ration makes itself more adaptable to the basic harmony feature and Chinese pecu liar culture idea. All of these reflect the deep factors of modern Chinese composers＇ harmony lanaRe thinkin and technique. The author of this paper thinks that thefour basic hannony structural components, i.e. harmonious tone, tone group, tone row and sound, cover the most important and fundamental contents of pitch organ- ization methods of the 20th century, and also contain the modem Chinese compos ers＇ music creation. Based on these categories, this paper tries to analyze the thinking and technique features of modem Chinese composers and make a research on their creation characters and styles.

关 键 词：音高结构 思维 技法 和音 音组 音列 音响 

分 类 号：J614.1[艺术—音乐]