视唱练耳中调性感与音程感之关系

发布时间：2018-02-04 15:21

本文关键词： 视唱练耳调性音程　出处：《南京师范大学》2006年硕士论文　论文类型：学位论文

【摘要】：视唱练耳是学习音乐专业的一门基础性学科。对传统音乐的学习主要是以调性为核心的，音程大多居从属地位。但该学科所包含的并不仅是单纯的技术练习，还反应了音乐作品的创作思维和观念动向。19世纪末、20世纪初，音乐艺术在视觉和听觉上都发生了重大改变。调性一统天下的局面不再延续，音程关系却在不同风格的音乐作品中突显个性，有时甚至占据了核心地位。本文主要通过对三种音乐类别(调性扩展类、泛调性类、自由无调性类)的分析，详细阐释了调性与音程关系的变化，并着重提出了相应的练习方法。从调性扩展类到自由无调性类音乐作品，，调性对音乐的控制呈现日趋松动的迹象。前者强调中心音的重要作用，有明确的调号，调性仍居主导地位，但统一呈现片段性。相应的练习方法为：固定音高记忆和围绕中心音的构唱练习。后者包含了“十二个音彼此平等”的十二音体系概念。音与音之间的功能逻辑大大削弱，以综合练习为主。音程关系在大多数情况下居核心地位。泛调性类音乐作品，从总体上看仍属调性音乐，但音程对调性的依附已大大减小。因此采用了扩展性的模进练习、固定音高与调性感相融合、音程的综合练习等几种练习方式。当然，音乐艺术的发展不是静止的、被预定的系统。调性与音程应是相辅相成、互相补充的关系。当我们聆听或学习音乐作品时，应从宏观的角度去把握这一关系，并综合运用其他音乐要素和积累相关知识，才能真正理解音乐作品所蕴涵的真谛。
[Abstract]:Solfeggio is a basic subject of music major. The study of traditional music is mainly based on tonality, and most of the intervals are subordinate to each other. However, the subject contains more than just technical exercises. It also reflects the trend of creative thinking and concept of music works. At the end of the 19th century and the beginning of the 20th century, the music art has undergone great changes in vision and hearing. The relationship of interval in different styles of music highlights the personality, sometimes even occupies the core position. Through the analysis of three kinds of music categories (tonality expansion class, pantonicity class, free atonal class), this paper explains in detail the change of the relationship between tonality and interval. And put forward the corresponding practice methods emphatically. From tonality expansion class to free atonal music works, tonality control of music shows signs of loosening day by day. The former emphasizes the important role of central tone, and has a clear tone number. Tonality still dominates. The corresponding methods are fixed pitch memory and construction exercises around the central tone. The latter includes "the twelve sounds are equal to each other." The concept of the 12 sound system. The functional logic between sound and sound is greatly weakened. In most cases, the relationship between the interval is the core. Pan-tonality music works, from the overall point of view, still belong to the tonality of music. However, the dependence of interval on tonality has been greatly reduced. Therefore, several kinds of practice methods are adopted, such as extended modular practice, fixed pitch and tone sensuality, comprehensive practice of interval and so on. Of course, the development of musical art is not static, the system is scheduled. Tonality and interval should be complementary and complementary. When we listen to or learn music works. In order to understand the true meaning of musical works, we should grasp this relationship from a macro perspective, and comprehensively apply other musical elements and accumulate relevant knowledge.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：J613.1

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