摘要
20世纪上半叶中国艺术歌曲的钢琴伴奏中存在现代音乐的技法因素———新民族乐派“调式半音体系”、新古典主义音乐“二部写作技法”、表现主义音乐“自由无调性”的某些技法特征。这种现代技法因素体现出了中国作曲家对西方现代音乐的借鉴,但又是以和声民族化为契机和归属的,呈现出和声民族化与和声创新的一致性。
The technique elements of the modern music existed in the piano accompany part of Chinese art songs in the first half of 20th century, such as modes-semitone system of Neo-Nationalism in Music, bicinium technique of Neo-Classicism, and free atonality of Expressionism. That those modern technique factors showed the Chinese composers used the West modern music for reference, and meanwhile reverted to the harmony nationality, therefore it appeared the unifying of harmony nationality and innovation.
出处
《黄钟（武汉音乐学院学报）》
CSSCI
北大核心
2006年第2期48-54,69,共8页
Huangzhong:Journal of Wuhan Conservatory of Music
关键词
艺术歌曲
钢琴伴奏
现代技法
和声民族化
art songs, piano accompany, modern technique, harmony nationality
作者简介
王文俐（1968～），女，青岛大学音乐学院副教授（青岛266071）。
