本文選題：復(fù)對位寫作 + 和聲思維　； 參考：《河南大學(xué)》2003年碩士論文

【摘要】： 復(fù)對位是對位法中一種重要的技巧，在學(xué)習(xí)對位法時，復(fù)對位也是較難理解的內(nèi)容之一。 歷史上對位與和聲是共生共榮的關(guān)系。和聲學(xué)源于對位的實(shí)踐，反過來和聲學(xué)又影響著對位法原則的形成與發(fā)展，并逐漸將對位納入自己的控制之下，于是出現(xiàn)了巴洛克復(fù)調(diào)音樂的頂峰時代。而在近代以來，對位與和聲是分開來研究的，由之產(chǎn)生的結(jié)果是，二者被對立起來理解，因而產(chǎn)生了認(rèn)識上的偏差與學(xué)習(xí)上的困難。 基于上述事實(shí)，本文首先將和聲學(xué)與對位法的關(guān)系進(jìn)行了梳理，將對位分為三種形態(tài)。每種對位分別對應(yīng)各自的和聲觀念，依次為：音程對位——音程和聲；調(diào)式對位——調(diào)式和聲；調(diào)性對位——調(diào)性和聲。其中對音程對位的分類是本文提出的對對位法分類的新觀點(diǎn)；并通過論證揭示和聲思維指導(dǎo)對位寫作的必然性。 然后，從和聲節(jié)奏、和聲序進(jìn)的角度入手論述復(fù)對位的寫作。先依據(jù)對位織體中旋律之間結(jié)合時形成和弦的規(guī)律,設(shè)計了一系列相配套的和弦復(fù)對位變化表以及相關(guān)的符合系統(tǒng)；再將譜例中和聲序進(jìn)在復(fù)對位前后的變化形式進(jìn)行定性定量的分析比較，揭示出和聲思維在復(fù)對位寫作中的運(yùn)用規(guī)律。本文對復(fù)對位前后和聲序進(jìn)變化規(guī)律的論述是作為一種新的復(fù)對位寫作理論而提出的，即以和聲序進(jìn)的變化規(guī)律來控制復(fù)對位前后的各項(xiàng)變量如音級、音程、調(diào)式調(diào)性等的運(yùn)用，，簡而言之，就是以和聲思維來構(gòu)思復(fù)對位的寫作。
[Abstract]:The complex pair is an important skill in the pair method, and it is also difficult to understand in the study of the pair method. In history, the relationship between harmony and harmony is symbiotic and co-prosperity. Harmony originates from the practice of opposites, in turn, harmony influences the formation and development of the principle of position law, and gradually brings the opposite under its control, thus the peak period of Baroque polyphony music appears. Since modern times, the opposite position and harmony have been studied separately, the result of which is that they are opposite and understood, resulting in the deviation in cognition and the difficulty in learning. Based on the above facts, the relationship between harmony acoustics and pairwise method is firstly combed, and the opposite position is divided into three forms. Each pair corresponds to its own concept of harmony, which is in turn: range-range harmony; tone-tone harmony; tonality-tone-tone harmony. Among them, the classification of interval alignment is a new viewpoint proposed in this paper, and the necessity of guiding contrastive writing by harmonic thinking is revealed through demonstration. Then, from the perspective of harmony rhythm and harmony progression, this paper discusses the writing of complex pairs. According to the law of the formation of chords when the melodies are combined with each other, a series of matching chord complex alignment tables and related coincidence systems are designed. Then the qualitative and quantitative analysis and comparison of the changing forms of harmonic sequence before and after complex pairs in spectral examples reveal the application law of harmony thinking in complex opposites writing. As a new writing theory of complex pairs, this paper discusses the regularity of the variation of the harmonic sequence before and after the complex pair, that is, the variation law of the harmony sequence is used to control the variables before and after the complex pair, such as the sound level, the sound interval, and so on. The use of tonality, in short, is to conceive conjunctive writing with harmony thinking.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2003
【分類號】：J614.1

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