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"三度间音"的游移性和扩展与延伸
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作者 康和 《南京艺术学院学报(音乐与表演版)》 2005年第3期59-62,共4页
从广义上说任何一个调式音级当它所处的条件变化时,其音高都会产生微妙的变化。作为调式支柱音时,它暂时处于一种稳定的状态,当条件变化,如上升、下降,作为临时的某调色彩音或在不同情绪的演奏状态下等,它们都会有明显的音高游移性质。... 从广义上说任何一个调式音级当它所处的条件变化时,其音高都会产生微妙的变化。作为调式支柱音时,它暂时处于一种稳定的状态,当条件变化,如上升、下降,作为临时的某调色彩音或在不同情绪的演奏状态下等,它们都会有明显的音高游移性质。一成不变是不可能的,所以音级因态而变的性质是作曲家在刨新和寻找音之根本属性时应该特别关注的重要问题。 展开更多
关键词 三度间 游移性 “苦音” “欢音”
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Tagore's Gitanjali: Reunion With God Through Songs
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作者 Tinni Dutta 《Journal of Literature and Art Studies》 2016年第4期426-428,共3页
Tagore reaches his lord through his songs which uplift him above the meanness end of life. Music ennobles him to a level of friendship with the Creator. Tagore's poems are suffused with wonder at the melodies spun by... Tagore reaches his lord through his songs which uplift him above the meanness end of life. Music ennobles him to a level of friendship with the Creator. Tagore's poems are suffused with wonder at the melodies spun by the lord. These entrance the entire universe. The poet wants to sign the same way but cannot. He has been made captive in the meshes of his music. The objective of the present study is to show how Tagore unites with God through songs. Methodology adopted in this study is the dynamic analysis of the poems. The intrinsic idea is the recurrent theme in his songs using me as an offering of worship O Lord, even if thou inflict pain on me in the process. Numerous bereavements in his life, from early youth to old age, agonized him throughout. But the more he suffered, the stronger grew his faith so he could write this song. The refrain, re-iterated from the beginning to the end, enhances the musicality. Thus it can be concluded when the poet perceived the world through songs, then he knew the world and he recognized it. 展开更多
关键词 Rabibndranath Tagore GITANJALI psychodynamic analysis
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汉族民歌《走绛州》研究 被引量:2
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作者 令狐青 《中国音乐》 CSSCI 北大核心 2015年第4期181-187,204,共8页
《走绛州》是一首广泛流传于山西和陕西的汉族民歌。很长时间以来,虽然人们对《走绛洲》的"曲式分析"有较多著述,但对该民歌的文化现象研究却较为鲜见。况且,在对《走绛州》的"曲式分析"和体裁类型研究的诸多重要... 《走绛州》是一首广泛流传于山西和陕西的汉族民歌。很长时间以来,虽然人们对《走绛洲》的"曲式分析"有较多著述,但对该民歌的文化现象研究却较为鲜见。况且,在对《走绛州》的"曲式分析"和体裁类型研究的诸多重要著述中,尚明显存在多种不同的解释。如"陕西小调"说;"山西小调"说;"《走绛州》是一首流传在河南、山西、陕西北部一带的挑担号子"说;"扁担歌"说。此外,在很多正式出版的《走绛州》乐谱中,还有"陕北民歌""陕西民歌""晋南民歌""襄汾民歌""晋陕民歌""运城民歌"等多种不同的说明文字。鉴于上述情况,本文试从音乐学的学术视角,对汉族民歌《走绛州》予以尽可能全面的分析和研究,以就教于前辈及同行。 展开更多
关键词 《走绛州》 历史文化 “燕乐阶” “苦音” 乐学分析 体裁分类
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