| 略论斯克里亚宾的晚期和声 |
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| 引用本文： | 王文. 略论斯克里亚宾的晚期和声[J]. 湖南文理学院学报(社会科学版), 2004, 29(3): 57-58 |
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| 作者姓名： | 王文 |
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| 作者单位： | 中央音乐学院作曲系 北京 |
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| 摘 要： | 斯克里亚宾晚期和声手法是我们研究欧洲19世纪与20世纪之交的音乐发展特点的重要内容之一。这一和声手法具有两个鲜明的特点,一是以个性化的“主和弦”彻底打破了传统调性和声的功能,二是强调和发展了三全音音程在音乐中的作用。
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| 关 键 词： | 斯克里亚宾 神秘和弦 主和弦 属七和弦 调性 |
| 文章编号： | 1672-6154(2004)03-0057-02 |
| 修稿时间： | 2004-03-06 |
On Scriabin's Harmony in His Later Period |
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| WANG Wen. On Scriabin's Harmony in His Later Period[J]. Journal of Hunan University of Arts and Science:Social Science Edition, 2004, 29(3): 57-58 |
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| Authors: | WANG Wen |
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| Abstract: | Scriabin' s harmony method in his later period is important for us to make a research into the characteristics of music development at the turn of the 19th and 20th century. It has two distinct characteristics: firstly, it thoroughly breaks free from the functions of traditional tune harmony with his specific "primary chord";secondly,it emphasizes on and develops the role of three-whole-tone interval. |
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| Keywords: | Scriabin mysterious chord primary chord seventh harmony tunability |
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