淺論和聲半音化的色彩及調性

畢業(yè)論文

摘   要

    本文分別從色彩和調性?xún)蓚�(gè)方面來(lái)闡述20世紀前歐洲和聲半音化。筆者著(zhù)重從每個(gè)時(shí)間階段色彩的表現作用、譜例分析及調性的變化發(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性是1對矛盾體，它們相互對立、相互統1。通過(guò)對色彩與調性關(guān)系的了解，創(chuàng )作者可以根據不同的音樂(lè )風(fēng)格特征，運用不同的表現手法。從而達到更好、更具創(chuàng )新的作品。
    關(guān)鍵詞：半音化；偽樂(lè )；離調性半音化；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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