德彪西钢琴作品《水中倒影》的调性特点及和声技法分析  

An Analysis of Tonality and Chord Techniques of Debussy’s Piano Work The Shadow in Water

作　　者：刘明清[1] LIU Mingqing(School of Musics,Neijiang Normal University,Neijiang,Sichuan,641100,China)

机构地区：[1]内江师范学院音乐学院,四川内江641100

出　　处：《内江师范学院学报》2022年第11期119-124,共6页Journal of Neijiang Normal University

摘　　要：“调性”是20世纪音乐创作和音乐分析最为重要的问题之一。法国作曲家克劳德·德彪西对“调性”的发展以及传统调性观念的改变有着承前启后的作用。《水中倒影》作为德彪西中期最有代表性的作品,其调式、和声的使用具有很强的个性。“调性”思维与“无调性”思维的结合,在“无调性”思维贯穿下有意识地与“调性”旋律相融合是德彪西这个时期创作的主要特点。作品中,不同的和声技法的使用是表现其调性思维融合的重要手段。Tonality was one of the most important aspects in both music creation and analysis in the 20^(th) century.The development of the tonality and change of traditional tonal concept by Claude Debussy could serve as a link between past and future.As a master piece of Debussy in his middle age,The Shadow in Water is characterized by tonality and employment of chord.The combination between“tonal”and“atonal”thinking is consciously fused with“tonal”melody under the“atonal”thinking,which was the main characteristics of Debussy’s creation in this period.The employment of the different chord techniques is the important means of expressing his tonal thinking.

关 键 词：《水中倒影》 调性 无调性 和声技法 过渡 

分 类 号：J61[艺术—音乐]