关于建立“同低音调”体系的理论构想——由《乐理》“和弦的归属”引发的思考

发布时间：2018-07-16 13:39

【摘要】：在调性音乐理论中,调式和弦(尤其是主、属和弦)是揭示作品调性、调式的重要依据。而对于一个多调性的作品,似乎可以肯定地说,它们彼此之间一定存在着某种内在的关联,如近关系调、同主音调等。在此思路的引导和启发下,本文借助于调式中某些和弦特殊的功能属性,提出关于"同低音调"体系的理论构想。所谓"同低音调",是将调式中某特定和弦作同低音转换,再集合这些和弦的不同归属而形成的一个调群体系。所以,"同低音调"的内涵实际上也是一种多调间的逻辑关系。
[Abstract]:In the theory of tonality music, the toning chord (especially the master, belonging to the chord) is the important basis to reveal the tonality and mode of the works. For a polyphonic work, it seems certain that there must be some internal relationship between them, such as the near relation tone, the master tone, and so on. Under the guidance and inspiration of this idea, this paper, with the help of some special functional properties of chords in the mode, puts forward a theoretical conception about the system of "same bass tone". The so-called "same bass tone" is a system of tone groups formed by converting a certain chord in the mode to the same bass, and then collecting the different attribution of these chords. Therefore, the connotation of "the same bass" is actually a kind of logic relationship between polyphonic tones.
【作者单位】：武汉音乐学院作曲系;
【分类号】：J614

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