柯达伊·佐尔丹组曲《哈里·亚诺什》和声技法研究-音乐学专业毕业论文.docxVIP

万方数据 万方数据 目录 中文摘要···················································I ABSTRACT················································· Ⅲ 绪论 1 一、选题的意义·············································1 二、国内外研究现状··········································1 第一章 柯达伊与组曲 《哈里·亚诺什》························4 第一节 柯达伊生平简介与创作 ···························4 一、 柯达伊生平简介································4 二、 柯达伊的创作··································4 第二节 组曲《哈里·亚诺什》 简介·······················6 一、同名歌剧背景···································6 二、组曲标题释义········································6 第二章 组曲《哈里·亚诺什》六首作品的综合分析·················9 第一节 主题旋律分析 ···································9 第二节 曲式结构分析 ·································· 15 第三节 乐曲配器分析···································32 第三章 组曲《哈里·亚诺什》和声分析························36 第一节 调式调性······································· 36 一、传统西洋大小调································ 36 二、民族五声性调式································38 三、中古调式······································39 四、复合调性 ·····································42 五、打 破调式调 性调性 的创 作手法 ·················45 第二节 和弦材料·······································47 一、和弦种类 ·····································47 二、和弦的个性化运用······························62 第三节 持续音··········································66 第四章 组曲《哈里·亚诺什》和声创作特征····················70 第一节 和声的民族因素·································70 第二节 和声的创新因素·································71 第三节 对新音乐的影响·································74 结语······················································· 76 注释························································78 参考文献····················································79 致谢 ························································ 81 攻读学位期间发表的学术论著····································82 山东师范大学硕士学位论文 山东师范大学硕士学位论文 中文摘要 管弦乐组曲《哈里·亚诺什》由匈牙利伟大作曲家,音乐民俗学家和教育家 柯达伊?佐尔丹（文后简称柯达伊）根据其同名歌剧改编而成。原有歌剧是前有 序幕后有尾声的四幕剧，歌剧《哈里·亚诺什》是柯达伊以一个民间故事《退伍 军人》为脚本创作的歌剧，1926 年 10 月 16 日首演于匈牙利首都布达佩斯皇家 歌剧院并引起较大影响，但作曲家并不满足于当时的成功，很快将歌剧改为六部 分结构的大型管弦乐组曲，经改编以后的器乐组曲所使用的音乐语言更加洗练和 富有“柯达伊”风采，无论