蒂皮特交响曲创作的主要和声技法  

Main Harmony Techniques in Michael Kemp Tippett Symphonies

作　　者：李如春[1] 

机构地区：[1]山东艺术学院艺术研究院,山东济南250014

出　　处：《临沂大学学报》2016年第4期36-44,共9页Journal of Linyi University

摘　　要：为学习借鉴英国现代作曲家迈克尔·蒂佩特交响曲的和声技法,分析、探讨了蒂佩特交响曲的和声技法问题。对交响曲中的主要和弦结构、和弦结构的形成原因、和声进行与和弦相互关联四个方面进行了分析研究。蒂佩特交响曲的和弦结构中有三度、非三度相同音程关系的叠置,也有混合音程关系的叠置。和弦结构的形成来自对位旋律的意外结合、和弦外音参与形成的和弦、双调性与多调性中形成的结合或是旋律或音阶纵向化的产物。在和声进行上,蒂皮特注重使用持续和弦与和弦贯穿、交替进行、平行进行、和弦移位与和声模进、通过共同音的连接、和弦对置与复合和声等技法。和弦的关联中既有功能性的关联,也有通过中心音响技术、和声场形成的非功能性关联。To learn the harmony techniques from the modern English composer Michael Kemp Tippett symphonies, this paper analyzes and discusses the harmony techniques in Teppett symphonies, including main chord structure, the forming reasons of chord structure, harmonic progression and chord interrelation. There are overlap of third and non-third same intervals, and overlap of mixed intervals relationships. The formation of chord structure comes from the accidental combination of para melody. In the process of harmony, Tippett makes full use of techniques like sustained chords and chords throughout, alternate chords, parallel chords, and so on. In the interrelationship in chords, there are both functional interrelationships and non-functional interrelation- ships.

关 键 词：蒂佩特 交响曲 和声 和弦 20世纪音乐 

分 类 号：J614[艺术—音乐]