线性思维的五声性调式和声写作要义  

Essentials of Harmonic Writing in Pentatonic Modes of Linear Thinking

作　　者：姚恒璐[1] Yao Henglu

机构地区：[1]中央音乐学院作曲系,北京100031

出　　处：《南京艺术学院学报（音乐与表演版）》2021年第3期93-107,I0006,共16页Journal of Nanjing Arts Institute:Music & Performance

摘　　要：在21世纪“后调性”的音乐创作中,如何应用线性思维在纵横两方面进行多声部写作的探索,从应用西方传统功能和声原则的习惯性接受方式中解脱出来,形成一种新的、适用于中国民族调式与“后调性”现代和声特点的多声部手法,使得作品在继承传统风格的同时还具备“时代感”,是摆在每一位作曲家面前的新课题。与西方音乐中旋律与和声的关系不同,中国民族调式旋律除了五声性骨干音组成的旋律之外,所有的“偏音”应属于调式的构成音,而不是“外音”的概念。即使五声性和声与西方功能和声之间存在着共同解释的音阶级别,也不要直接照搬。理论相通不等于音乐的风格就能一致。照搬音阶中的功能级别,其结果就会否定了民族调式中偏音的存在,在和声功能级别中将偏音当作“外音”处理,直接损害了调式旋法中细腻的风格指向。In the 21st Century post-tonal music writings,how to apply linear thinking to the writing of multi voice parts in two aspects and to free from the traditional way of accepting the Western traditional functional harmony principle,and form a new multi voice part applicable to Chinese national modes and the modern harmony characteristic of "post tonality",have become a new task for every composer to make his/her works with a "sense of the times" while inheriting the traditional style.Different from the relationship between melody and harmony in Western music,except for the melody composed of pentatonic backbone notes,all "plan yin" in Chinese national modes melody should belong to the constituent notes of mode,rather than the concept of "wai yin".Even if there is a common scale between pentatonic harmony and Western functional harmony,we should not copy it directly.The same theory does not mean that the style of music can be identical.If we copy the functional classes of the scale,we will deny the existence of the "pian yin" in the national modes.If we treat the "pian yin" as "non-harmonic tone" in the harmony functional class,it will directly damage the delicate style-orientation in the mode.

关 键 词：五声性调式和声 线性思维 声部进行 非三度叠置和弦 

分 类 号：J709[艺术—舞蹈] J70-05