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淺論和聲半音化的色彩及調(diào)性
畢業(yè)論文
摘 要
本文分別從色彩和調(diào)性兩個(gè)方面來(lái)闡述20世紀(jì)前歐洲和聲半音化。筆者著重從每個(gè)時(shí)間階段色彩的表現(xiàn)作用、譜例分析及調(diào)性的變化發(fā)展來(lái)說(shuō)明其變化過(guò)程。從而分析出在半音化手法中色彩與調(diào)性是1對(duì)矛盾體，它們相互對(duì)立、相互統(tǒng)1。通過(guò)對(duì)色彩與調(diào)性關(guān)系的了解，創(chuàng)作者可以根據(jù)不同的音樂(lè)風(fēng)格特征，運(yùn)用不同的表現(xiàn)手法。從而達(dá)到更好、更具創(chuàng)新的作品。
關(guān)鍵詞：半音化；偽樂(lè)；離調(diào)性半音化；旋律性半音化；和聲性半音化
ABSTRACT
The essay expounds chromatic development for harmony before 20th in Europe from two aspects of tone color and tonality. Writer keeps focus on displaying effects of tone color. Example-analyzing and developing of tonality for each period to show its developing course. From which writer analyze and know that both tone color and tonality in chromatic technique are self-contradictory. Both of them contradict and unify each other. By way of understanding the relationship between color and tonality. Composer can achieve better and more original works by employing different expressing way. Based on different feathers of musical style.
Key words: Chromaticism; music false; Semitone before suiting well; Melody of sexual halftone; Harmony of nature halftone
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