论艺术歌曲《归来的星光》创作特征的运用  

The Application of Creating Features of "The Return of Starlight"

作　　者：欧槐顺 张建华[1] OU Huaishun ZHANG Jianhua

机构地区：[1]安徽师范大学音乐学院

出　　处：《四川民族学院学报》2017年第4期78-82,共5页Journal of Sichuan Minzu College

摘　　要：《归来的星光》是广大声乐学习者非常熟知的一首艺术歌曲,其音乐内涵丰富,时代特征鲜明,在传统的创作技法上融入了西方的创作手法,使作品的创作特征更具有研究和学习的意义。文章运用文献阅读和理论与实际相结合的研究方法,结合谱面分析和音响效果对作品创作特征的运用进行研究。通过分析发现,"三连音"节奏的运用和转调手法两个方面存在着具有典型意义的创作特征:1."三连音"节奏的常运用在小节中最后一拍的弱拍上,后面接跨小节强拍上的长音符;2.两次转调分别运用了等音转调和变和弦转调。为了进一步去理解和掌握这一作品,文章将紧紧围绕创作特征在作品中的实践运用进行详细的阐述。＂ The Return of Starlight＂ is a very famous song which is quite familiar to the vocal music learners. The song has a very rich connotation and a very overt time characteristic, and it integrates tradi- tional creating techniques into the western creation technique, so it merits a profound study of its creating features. This paper uses the research method of literature reading and theory with practice, combining spectral analysis and sound effect to study the application of its creation features. Through the analysis, it is found that the use of ＂ triplet＂ rhythm and transfer methods lie in two aspects： on the one hand, the rhythm of ＂ triplet＂ is usually on the last weak pat of the section, followed by the downbeat long notes of cross section; on the other hand, two or two tranches are used for the transfer of the isotones and the change of chords. In order to further understand and master this work, the article will focus on the practi- cal application of the creating features of this artistic work.

关 键 词：创作特征 “三连音” 转调 运用 

分 类 号：J614[艺术—音乐]