久石让动画电影音乐和声技法研究——以宫崎骏八部动画电影代表作的音乐为例-research on music and harmony techniques of joe hisaishi animated films - taking the music of eight representative animated films of hayao miyazaki as an example.docx

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久石让动画电影音乐和声技法研究——以宫崎骏八部动画电影代表作的音乐为例-research on music and harmony techniques of joe hisaishi animated films - taking the music of eight representative animated films of hayao miyazaki as an example.docx

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久石让动画电影音乐和声技法研究——以宫崎骏八部动画电影代表作的音乐为例-research on music and harmony techniques of joe hisaishi animated films - taking the music of eight representative animated films of hayao miyazaki as an example

目录中文摘要··························································I ABSTRACT·······················································III 引言 1第一章久石让生平、创作及动画电影音乐概述·························6第一节久石让生平与创作·········································6第二节动画电影音乐概述········································14一、动画电影音乐的发展历程及其作用简述·······················15二、动画电影音乐的构成元素···································16第二章调式调性··················································19第一节功能性与色彩性相结合的调性布局··························20第二节灵活多变的调式素材······································21一、对于自然小调的偏爱·······································22二、日本民族调式的引用·······································24三、中古调式的运用···········································26四、中国五声调式及自然大小调旋律骨干音的五声化处理···········27第三节调性发展手法············································29一、多种调式交替丰富调式色彩·································29二、继承传统且个性化的转调手法·······························32三、调性对置·················································37第三章和声技法··················································40第一节和弦材料················································40一、三度叠置和弦·············································40二、复杂化的三度叠置和弦·····································47三、非三度叠置和弦···········································51四、复合和弦·················································54第二节和声进行················································57一、传统功能性进行保障音乐主题的可听性与大众认可度··········57二、反功能进行打破听众审美期待······························60三、二、三度关系和声进行与色彩性和弦对置手法················61四、线性化和声思维的丰富展现································64第三节终止式··················································69一、以变格半成进行收束全曲··································69二、终止处功能性进行的变体··································70三、终止处的意外进行········································74第四节和声织体···············································76 一、和弦各音在织体中同时发响································76 二、和弦各音在织体中相继发响································79第四章和声在影片中的艺术功能···································81第一节和声对于影片情节发展的推动······························81第二节和声对于影片立体氛围的营造及