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当今世界处在多元化的时代,欧洲近现代音乐教育体系的引入,促进了东西方音乐文化的交流,在一定程度上推动了中国音乐的发展.但同时也使“欧洲中心论”在我国的音乐教育以及音乐观念中占有主流位置,使人们一直误以为中国的民间声乐作品中没有“复音”现象存在。直到本世纪40年代末,西南少数民族地区的音乐家在采录民间音乐的过程中陆续发见了大量的这类民歌,才扭转了世人的看法。本项研究旨在将多声部民歌中的和声思维方式及应用形态加以解释分析,促使多声部民歌和声体系化得以加强以及中西方的音乐理机结合,丰富民族音乐的理论和实践研究,促进民族音乐体系化的形成。
Today’s world is at a time of diversification. The introduction of modern European music education system has promoted the exchange of eastern and western musical culture and promoted the development of Chinese music to a certain extent. At the same time, however, Our country has the mainstream position in music education and music concept, which makes people mistakenly think that there is no “polyphonic” phenomenon in Chinese folk vocal music works. It was not until the late 1940s that musicians from ethnic minority areas in Southwest China started to witness a large number of such folk songs in the process of recording folk music before they reversed the world view. The purpose of this study is to explain and analyze the harmony mode of voice and multi-voicing folk songs, to promote harmony of multi-voices folk songs and the combination of Chinese and Western musical instruments to enrich the theory and practice of folk music Research, promote the formation of national music system.