五声性调式为基础的和声研究
发布时间：2018-11-26 07:27
【摘要】： 中国专业性的多声部音乐创作,始于20世纪20年代初。作曲家在进行音乐创作时,在旋律的写作上往往会采用五声性音调。而在中国的传统音乐中,虽然存在着一些多声部音乐的组合方式与和声因素,但并不构成完整的和声的体系。于是在多声部音乐的创作中所运用的和声,大多是欧洲大、小调体系的和声方法。但是二者的调式基础不同,因此在旋律与和声之间,必定会在某些方面出现风格上的矛盾。我们在进行多声部音乐创作时,除了旋律的写作之外,还会遇到配和声的问题。同中国其它地区的民歌一样,五声调式音阶也是朝鲜族音乐曲调的基础。为了使和声语言更适应本民族音乐的特点,我们必须研究五声性调式的特征及其和声手法,因为这是解决朝鲜族音乐旋律创作与和声的民族风格等问题的一个重要前提。 民族和声作为具有自身特点的五声旋律和声方法之一,它包含了和弦结构,和声进行,调式、调性的扩展方法等方面。 本论文选定中国五声性调式和声为研究对象,通过分析,分别从调式特征、和声结构、和声的功能、和声的应用等几个方面总结出一个共用的和声手法。希望这一尝试能为今后的朝鲜族多声部音乐创作中的和声应用提供理论依据。
[Abstract]:Chinese professional multi-part music creation began in the early 1920s. Composers often use pentatonic tones in melody writing. In Chinese traditional music, although there are some multi-part music combination and harmony factors, it does not constitute a complete harmony system. Therefore, most of the harmonies used in the creation of multi-part music are the harmony methods of the European major minor system. But the two modes are different, so there must be some style contradiction between melody and harmony. In addition to melody writing, we also encounter the problem of harmony. Like other folk songs in China, the pentatonic scale is the basis of Korean music. In order to adapt the harmony language to the characteristics of our own national music, we must study the characteristics of the pentatonic mode and its harmony techniques, because this is an important premise to solve the problems of melody creation and the national style of harmony in Korean music. As one of the five melodic harmonies with its own characteristics, national harmony includes chord structure, harmony process, modulation, tonality expansion and so on. In this paper, we choose Chinese pentatonic harmony as the research object. Through analysis, we summarize a common harmony technique from the aspects of modulation characteristics, harmony structure, harmony function, harmony application and so on. It is hoped that this attempt will provide a theoretical basis for the application of harmony in Korean multi-part music creation in the future.
【学位授予单位】：延边大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：J614.1
本文编号：2357786
[Abstract]:Chinese professional multi-part music creation began in the early 1920s. Composers often use pentatonic tones in melody writing. In Chinese traditional music, although there are some multi-part music combination and harmony factors, it does not constitute a complete harmony system. Therefore, most of the harmonies used in the creation of multi-part music are the harmony methods of the European major minor system. But the two modes are different, so there must be some style contradiction between melody and harmony. In addition to melody writing, we also encounter the problem of harmony. Like other folk songs in China, the pentatonic scale is the basis of Korean music. In order to adapt the harmony language to the characteristics of our own national music, we must study the characteristics of the pentatonic mode and its harmony techniques, because this is an important premise to solve the problems of melody creation and the national style of harmony in Korean music. As one of the five melodic harmonies with its own characteristics, national harmony includes chord structure, harmony process, modulation, tonality expansion and so on. In this paper, we choose Chinese pentatonic harmony as the research object. Through analysis, we summarize a common harmony technique from the aspects of modulation characteristics, harmony structure, harmony function, harmony application and so on. It is hoped that this attempt will provide a theoretical basis for the application of harmony in Korean multi-part music creation in the future.
【学位授予单位】：延边大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：J614.1
【引证文献】
相关硕士学位论文 前1条
1 唐宇翔;论我国民族民间音乐元素在视唱练耳教学中的运用[D];湖南师范大学;2011年
，本文编号：2357786
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