中国近代和声技法的调域类型及历史走向

发布时间：2018-05-19 22:38

本文选题：调域 + 调域分析　；参考：《上海音乐学院》2007年博士论文

【摘要】： 本文以中国近代音乐创作中的和声技法为对象，总结其技法特点，分析其思想成因，观察其历史走向，力求通过技术的分析及归纳，历史的梳理与总结，为中国近代音乐史学提供新的学术视域。本文探求近代和声技法中民族风格的形成与发展，在此基础上，宏观和历史地概括出近代和声技法的调域类型，即调性、调式、调中心三种模式。指出近代以来相当长的时间里单一调式模式的历史走向及思想成因。通过实例说明，调域类型在分析和声技法、风格变化及作曲家个性特色方面所具有的实用价值。本文采用调域分析方法，这是从中国近代音乐创作的实际出发，整合西方的和声理论，吸纳中国宫调理论的研究成果，从而形成的和声研究方法。本文调域这一概念。是对已有的“调域”或“均”术语的创造性的发挥，内涵不变而外延由原7个音高材料延伸至12个音高材料。调域分析就是对作品中的音高材料的组织原则以及扩展方式进行分析。其方法的理论基础主要来源于：勋伯格的单一调性理论、巴托克调式综合理论、兴德米特的调中心理论，这三种理论对中国近代和声技法中出现的调性、调式及调中心的和声现象具有重要的参考价值。本文对三种理论在调域拓展方式上扮演的角色进行了深入解读，并整合其中的合理内核运用于自己的研究。本文以调域扩展方式的变化作为中国近代和声技法发展的叙事主线，通过对典型作品进行调域扩展方式的调域分析，揭示出近代从主音确立、到调式旋宫、再到调中心运用的和声发展过程，指出在这个过程中，民族风格得到实现，并在调域类型的归纳中再度呈现出民族风格的多样性。本文在和声技法中探索了近代民族风格的实现途径，想借以说明，在中国近代和声技法中，“科学法子”的不断深入，民族要素也在不断加强，两者相辅相成，尤如两翼，托起中国近代音乐的创作，腾空崛起，迅速发展。最后提出，学习西方技法，挖掘民族要素，，融合中西之长，走中西结合的创作道路，这是中国近代音乐史的历史事实，也应是当下谋求中国音乐创作的价值取向。本文的学术成果：第一，首次提出调域新概念及调域分析方法；第二，首次提出近代和声技法调域类型的三种模式和单一调式模式的历史走向及思想成因。第三，将和声学与音乐史学相结合，融思想、技法、作品为一体，开辟中国近代音乐史学跨学科研究的新领域。
[Abstract]:This article takes Chinese modern music creation in harmony technique as the object, summarizes its technique characteristic, analyzes its thought origin, observes its historical trend, strives through the technical analysis and the induction, the history combs and the summary. To provide a new academic horizon for Chinese modern music history. This paper explores the formation and development of national style in modern harmony techniques, and on the basis of this, generalizes the three modes of modern harmony techniques, I. E. tonality, mode and center of harmony, macroscopically and historically. It points out the historical trend and ideological cause of single mode in modern times. The practical value of the tonal field type in the analysis of harmonic techniques, style changes and the individual characteristics of composers is illustrated by examples. This paper adopts the method of tone domain analysis, which is based on the reality of Chinese modern music creation, integrates the western harmony theory, and absorbs the research results of Chinese palace tune theory, thus forming the research method of harmony. In this paper, the concept of domain. It is the creative exertion of the existing terms of "modulation field" or "average", the connotation of which is unchanged and the extension extends from the original 7 pitch materials to 12 pitch materials. Domain analysis is the analysis of the organization principle and expansion mode of pitch materials in works. The theoretical basis of its method mainly comes from Schoenberg's single tonality theory, Bartok's mode synthesis theory, and Hendermitt's centering theory. The harmonic phenomenon of modulation and modulation center has important reference value. In this paper, the roles of the three theories in the expansion of the modulation domain are deeply interpreted, and the rational kernel is integrated into their own research. This paper takes the change of the mode of tonality expansion as the main narrative thread of the development of modern Chinese harmonic techniques. By analyzing the mode of tonality expansion of typical works, this paper reveals the modern times from the establishment of the subject to the mode of rotation. In the process of harmony development, it is pointed out that the national style has been realized in this process, and the diversity of national style has been reappeared in the induction of the types of tone field. This paper explores the ways to realize the modern national style in the harmony technique, in order to explain that, in the modern Chinese modern harmony technique, the "scientific method" is deepening, and the national elements are also being strengthened, the two are complementary, such as the two wings. Lift up the creation of modern Chinese music, rising, rapid development. Finally, it is the historical fact of Chinese modern music history and the value orientation to seek Chinese music creation at present to study western techniques, excavate national elements, merge the strong points of Chinese and western, and take the road of combining Chinese and western creation. The academic achievements of this paper are as follows: first, a new concept of tone domain and its analysis method are put forward for the first time; second, the historical trend and ideological causes of three modes and single mode of modern harmony technique are put forward for the first time. Third, combine harmony acoustics with music history, and combine ideas, techniques and works as a whole to open up a new field of interdisciplinary research in modern Chinese music history.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2007
【分类号】：J614.1

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