和声思维在复对位写作中的运用-音乐学专业论文.docxVIP

中文摘要 f复对位是对位法中一种重要的技巧，在学习对位法时，复对位也是较难理解的 ’ 内容之一。 历史上对位与和声是共生共荣的。和声学源于对位的实践，反过来和声学又影 d-!■‘；； 响着对位法原则的形成与发展，并逐渐将对位纳入自己的控制之下，于是出现了 巴洛克复调音乐的顶峰时代。而在近代以来，对位与和声是分开来研究的，由之 产生的结果是， 因而产生了认识上的偏差与学习上的困难。 基于上述 学与对位法的关系进行了梳理，将对位分为 三种形态。每种对位分别对应各自的和声观念，依次为：音程对位——音程和声； 调式对位——调式和声；调性对位——调性和声。其中对音程对位的分类是本文 提出的对对位法分类的新观点；并通过论证揭示和声思维指导对位写作的必然性。 然后，从和声节奏、和声序进的角度入手论述复对位的写作。先依据对位织 体中旋律之间结合时形成和弦的规律，设计了一系列相配套的和弦复对位变化表以 及相关的符合系统；再将谱例中和声序进在复对位前后的变化形式进行定性定量 的分析比较，揭示出和声思维在复对位写作中的运用规律。本文对复对位前后和-’●_--_。_■■l 声序进变化规律的论述是作为一种新的复对位写作理论而提出的，即以和声序进 的变化规律来控制复对位前后的各项变量如音级、音程、调式调性等的运用，简 而言之，就是以和声思维来构思复对位的写作。 缈嘻钏：  Abstract The technique of double-counterpoint is one of the most important compositional methods7 besides，it is also the most difficult part to comprehend in the study of counterpoint． Counterpoint and harmony are never separated in history．Harmonics originals from the practices of counterpoint and which in turn influences the formation and practices of the writing of counterpoint，and gradually brings counterpoint into its own contr01．The result of this process is the appearance of the prosperity of Baroque polyphony．Since the modem time，counterpoint and harmony become two separate subject of study,the result of which is that one is comprehended船conflicting with the other,thus producing an error injudgment and the difficulty in study． Based on above facts，in part 1 the author combs out the relationship between harmonics and counterpoint method，and then divides counterpoint into three kinds of states．Each state of counterpoint has their own corresponding concept of harmony． These correspondences are listed船follow：interval counterpoint—interval harmony, mode counterpoint—mode harmony,tonality counterpoint--tonality harmony．Among these three correspondences，the division of interval counterpoint is a new viewpoint toward the division of counterpoint；the author also reveals and proves the inevitability ofthe guiding function ofharmonic thinking in the composition ofcounterpoint． In