五声性和声在哈萨克族民歌伴奏中的应用探究  

Research on the Application of Pentatonic Harmony in Kazakh Folk Song Accompaniment

作　　者：童惠[1] 李暮凡 TONG Hui;LI Mufan(School of Music,Anhui Professional College of Art,Hefei 230033,China;School of Chinese Language,Literature and Art,Xinjiang Agricultural University,Urumqi 830052,China)

机构地区：[1]安徽艺术职业学院音乐学院,安徽合肥230033 [2]新疆农业大学中国语言文学与艺术学院,新疆乌鲁木齐830052

出　　处：《宿州学院学报》2022年第7期58-63,共6页Journal of Suzhou University

基　　金：安徽省高校人文社会科学研究重点项目(SK2020A0839)。

摘　　要：哈萨克族民歌作为中国少数民族音乐的重要载体,自新中国成立后就不断有作曲家对其进行改编并编配伴奏,将其民族性、专业性和欣赏性极大提升。哈萨克族民歌有个性的音乐形态对于五声性调式和声在伴奏中的配置虽具难度但更显多彩。从中国民族音乐与五声性和声的关系、哈萨克族民族的音乐形态特征以及五声性和声在哈萨克族民歌伴奏中的实践应用三大角度,探寻该音乐形式的伴奏编配构思,总结其运用规律,以便在音乐创作与哈萨克族民歌演唱中更好地解析与运用。Kazakh folk songs,as an important carrier of Chinese minority music,have been adapted and arranged by composers since the founding of the People′s Republic of China to greatly enhance their nationality,professionalism and appreciation.Its unique musical form makes it difficult but more colorful for pentatonic mode harmony to be configured in accompaniment.This paper explores the idea of the accompaniment arrangement of this music and form summarizes the rules of its application from the relationship between Chinese folk music and pentatonic harmony,the characteristics of Kazakh musical form and the practical application of pentatonic harmony in the accompaniment of Kazakh folk songs in order to better analyze and use in music creation and Kazakh folk song singing.

关 键 词：哈萨克族民歌 音乐形态 伴奏 五声性和声 

分 类 号：J607[艺术—音乐]