五声性线性和声在中国音乐创作中的足迹  

Traces of Pentatonic Linear Harmony in Chinese Music Creation

作　　者：姚恒璐[1] Yao Henglu(不详)

机构地区：[1]中央音乐学院

出　　处：《星海音乐学院学报》2021年第1期71-95,共25页Journal of Xinghai Conservatory of Music

摘　　要：东方音乐原本就不是在和声里产生旋律,而是以线条化的旋律形态独立存在,中国音乐原本就以缺乏多声部的系统理论而成为中西音乐发展史中比较中的缺憾,看似“弱项”的单级音乐构成,有可能演变成具备独特构成基础的多声部组织。线性思维源于横向旋律,应努力研究民族调式与西方大小调式之间的“旋法”、调式构成方式的区别,研究五度相生关系中所构建的各类不同调式组合方式及其音调形成的差异。这其中有民族地域音乐旋法的差别、也有和声技法的特殊要求。由于音乐语言的不同构成,我们不能将西方大小调式的和声体系,不加区分地套用在民族音调的多声部配置上。成功的作法可以总结为“以线性思维的和声为主、以音级思维的功能和声为辅”。Eastern music basically consists of independent linear melodies that are not generated from harmony.The lack of systematic multi-part theory in Chinese music is a defect in comparison of the development histories of Chinese and Western music,but the seemingly“weak point”of monophonic structure may evolve into a multi-part organization based on unique foundation.Linear thinking originates from horizontal melodies,and efforts should be made to study differences between folk modes and Western major and minor modes in“approach to melody”and mode structure.The differences of combination and formation of melodies among various modes created in the circle-of-fifths system should be studied.The Western major and minor harmony should not be applied indiscriminately in multi-part writing of folk melody.To sum up,successful practice is“the harmony of linear thinking is the main one and the functional harmony of scale-degree thinking is the secondary one”.

关 键 词：理论认知 五声性和声 线性思维 偏音 外音 五声性旋法 非三度叠置 

分 类 号：J614[艺术—音乐]