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人们由于民族、文化与时代背景的差异,对于同样音程的听觉协和性有着不同的感受。植根于维也纳古典乐派以降的作曲与作曲技术理论与十二平均律体系的西方传统乐理中,将音程的协和性定义了一个理论条件下的标准。而对于拥有更广大地区与人口的以纯律和五度相生律为根基的东方音乐文化来说,这样的标准显然存在着诸多疑问。本文力图通过对于影响人类听觉感受的“音程协和性本源——时代的影响——民族文化的背景差异”等三方面的论述,得出“影响音程协和性的,既不是死板的音程名称,也不是音程的振动数值比,而是人的民族文化背景。听者身处的时代、民族、受教育程度等综合因素,最终决定了对于音程协和性的判断”的结论。
Due to the differences in ethnicity, culture and the background of the times, people have different feelings about the harmony of hearing in the same interval. Rooted in the classical music theory of Vienna’s classical music composition and composition of the theory and the Twelve Equal System of Western traditional music theory, the harmony of the soundtrack defines a theoretical criteria. And there is clearly a lot of doubt about such a standard for Oriental music culture that has a wider area and population based on pure laws and the five degrees of coincidence. This article tries to conclude that “the influence of the harmony of the interval, which is not the rigid interval Name, nor is the vibration than the value of the pitch ratio, but the people’s cultural background of the country where the listener is living, ethnic, educational level and other comprehensive factors, and ultimately determine the judgment of the inter-tone ”conclusion.