【摘要】：上世紀(jì)80年代以來,我國先后出版了十余種具有民族特色又兼容并蓄地融合歐美和蘇俄兩大復(fù)調(diào)音樂體系精髓的復(fù)調(diào)專著和教材。但由于作者的疏忽,大部分教材將不同體系的專有名詞或習(xí)慣用語加以混淆,從而造成學(xué)習(xí)者的困惑、不解。影響最廣的是將復(fù)對位、可動(dòng)對位和繁復(fù)對位這三種意義截然不同的對位技術(shù)概念混為一談。本文就這三種對位的不同內(nèi)涵和特點(diǎn),表述個(gè)人的見解。
[Abstract]:Since the 1980s, China has published more than ten polyphonic monographs and textbooks with national characteristics and the essence of the two major polyphonic music systems of Europe and the United States and Soviet Russia. However, due to the negligence of the author, most textbooks confuse the proper nouns or idioms of different systems, thus causing confusion and confusion for learners. The most important thing is to confuse the concepts of complex pairs, movable pairs and complex pairs. This paper describes the different connotations and characteristics of these three kinds of opposites.
【作者單位】： 西安音樂學(xué)院;中國音樂家協(xié)會(huì);
【分類號】：J614.2
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本文編號：2195839