欧洲浪漫主义和声的技法特征与风格模拟写作  

The Simulation Writing of Technique Characteristics and Styles of European Romantic Harmony

作　　者：徐平力[1] 

机构地区：[1]中国音乐学院作曲系

出　　处：《乐府新声（沈阳音乐学院学报）》2014年第1期66-82,2,共17页The New Voice of Yue-Fu(Journal of the Shenyang Conservatory of Music)

摘　　要：欧洲浪漫主义音乐是继古典主义音乐之后形成的又一个重要的音乐流派。浪漫主义时期的和声技法虽然主要采用的是古典大小调时期的调性和声,但从和声语汇方面来看,已经有了很大的变化,它对后来20世纪现代主义音乐创作的发展,起到了一定的推动作用,这也是19世纪末晚期浪漫主义和声语言的主要特征。本文拟从历史发展的角度出发,对浪漫主义音乐所采用的和声技法做一定程度的理论阐述,并通过对两位著名浪漫主义作曲家的创作风格进行模拟写作,以此来展现浪漫主义音乐创作的风格特征及思想内涵。The European Romantic music is an important music school developed after the Classical music. Although the harmony techniques of Romantic period mainly used tonal harmony of the classical majorandminor era, they changed a lot in the aspect of harmony language. They represented the main features of harmony language of the late 19th century romantic period, and they also fueled the modem music cre ation development of the 20th century. From the point of history development, this paper expounds the Romantic harmony techniques, simulates the creation styles of two famous Romantic composers and reveals the style features and idea essence of romantic music creation.

关 键 词：和声 浪漫主义 技法特征 风格模拟 

分 类 号：J614.1[艺术—音乐]