在興德米特音樂理論的基礎(chǔ)上論“和聲力”與“旋律力”及其實(shí)際運(yùn)用

1、西安音樂學(xué)院碩士學(xué)位論文在興德米特音樂理論的基礎(chǔ)上論“和聲力”與“旋律力”及其實(shí)際運(yùn)用姓名：石萌申請學(xué)位級(jí)別：碩士專業(yè)：@@指導(dǎo)教師：饒余燕；程寶華；饒余燕2011-05-27西安音樂學(xué)院碩士學(xué)位論文 Abstract IIAbstract The thesis is based on the 《Composition Te

2、chniques》 that is writtened by Pual Hindemith(1895-1963) who was a composer and music theoretician in German,and regard the techniques as a theoretical direction , Further discussion on the“Harmonic force”and “Melodic fo

3、rce ” problem . Through the study of 《Composition Techniques》 of Hing's, From analyzing the actual music works to confirm the question about “ harmony force “ and “ melody force “ discussed in the thesis. And in the

4、 analysis will not only choose the work of Hindemith himself, but also select the other musicians of his time in the works. Even with some analysis of contemporary Chinese works involved in order to support this article

5、on “ harmony force “ and “ melody force “ problem.. the thesis summed up the practical value of Hindemith's《Composition Techniques》and its influence on Chinese works and the creative of Chinese Pentatonic. Key words