埃里克·萨蒂芭蕾舞剧《炫技表演》和声技法研究-音乐学专业论文.docxVIP

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埃里克·萨蒂芭蕾舞剧《炫技表演》和声技法研究-音乐学专业论文.docx

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埃里克·萨蒂芭蕾舞剧《炫技表演》和声技法研究-音乐学专业论文

目录中文摘要···························································I ABSTRACT························································II 绪论 1 1、选题的意义·····················································1 2、国内外研究现状·················································2 第一章埃里克·萨蒂简述············································3 第一节埃里克·萨蒂生平介绍········································3 第二节创作时期的划分及其美学追求··································5 第二章《炫技表演》的创作背景与概观分析······························6 第一节《炫技表演》的创作背景··································6 第二节《炫技表演》的概观分析·····································8 一、旋律主题···················································8 二、配器特征··················································16 三、结构原则················································20 四、节奏······················································25 第三章《炫技表演》和声分析········································28 第一节调性·······················································29 一、调性布局·············································29 二、双调性···············································32 第二节调式······················································36 一、教会调式··········································36 二、全音调式··········································39 三、五声调式··········································43 第三节和弦结构·················································46 一、三度叠置和弦········································46 二、四、五度叠置和弦·····································46 三、高叠和弦············································47 四、二度和音············································48 第四节平行进行···················································54 第四章《炫技表演》的和声特色及其创作影响····························60 第一节《炫技表演》中的和声特色分析·······························60 第二节《炫技表演》的影响········································65 结语·································································67 注释·····························································69 参考文献·······················································70 致谢··································