摘要
在欧洲,复调音乐的长期实践过程中,当纯律小三度及大六度的对位协和音程应用时,听觉上实际得到的不仅是对位音程的两个基音音响,还有这两个基音内含的两个谐音列,相互之间谐振而产生的上、下两个结合音列的音响。正是这些隐含的结合音音响,当听觉要求它们从后台再现到前台时,就相继产生了各种和弦形式。以往有关和弦的产生和功能属性等方面的认知,是欧洲音乐实践和创作中逐渐形成理论的基础,它们也仅是由创作经验感悟产生的结果,它应隶属于主观评价的一些方面。我们现在已可从上、下两个结合音列的音响分析中,找到它客观音响形态结构的理论科学依据。
During the long-term practice of polyphony music in Europe, while using the minor third and major sixth of the pure temperament counterpoint with consonant intervals, actually the acoustical sonority was not only two fundamental notes of counterpoint intervals, but also included two harmonic progressions embedded the two fundamental notes, and resonance with each other as well as a combination both of upper and lower tone rows sounding. It are these sonority of implied combined notes produced all kinds of forms of chords in succession while the auditory sense required them from the background reappearance to the foreground. That the cognitive about chord formation with their functional properties formerly were the bases of theory gradually build up from the European music practice and composition, and they were only the results generated by the creative experience instincts, which should belong to the aspects of the subjective evaluation. From analysis the sonority combing both of upper and lower series of notes, now we can find the theoretical scientific basis of their objective structure morphology.
出处
《黄钟（武汉音乐学院学报）》
CSSCI
北大核心
2014年第2期74-80,共7页
Huangzhong:Journal of Wuhan Conservatory of Music
基金
湖北省教育委员会科学研究计划资助项目<和声的声学基础>中的部分研究成果在此发表的
关键词
复调
和声
纯律
和弦
谐音列
基音
结合音
polyphony
harmony
pure temperament
chord
harmonic progressions
fundamentalnote
combine notes
