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中国传统音乐中,虽然广泛存在着各种多声部的组合方式与和声因素,但和声学作为一门有系统理论的音乐学科,则是从清代开始才逐渐由西方传入的。康熙五十二年(1713年)刊行的《律吕正义续篇》中已有西方“和声”传入的记载①,但那时并未产生实际的社会影响。光绪三十一年(1905年),留学日本的音乐家曾志忞在《醒狮》杂志第一、三期连续发表《和声略意》一文,这是中国人写作讲述西洋和声学知识的第一篇文章;1914年,由高砚耘(即高寿田)译述、曾志忞校正出版了我国第一部《和声学》②;1920年至1921年间,萧友梅也
Although there are many combinations of polyphony and harmonics in traditional Chinese music, as a systematic music theory, harmony is gradually introduced into the West from the beginning of the Qing Dynasty. The introduction of the Western “harmony” has already been recorded in “The Continuation of Law and Justice”, which was published in Kangxi’s 52nd year (1713), 1 but no actual social impact was produced at that time. In the 31st year of Guangxu (1905), Japanese musician Tsang Chih-tang published the “Voice of Peace and Silence” in the first and third phases of “Lion Dance” magazine, which is the first Chinese writing about Western knowledge and acoustics Articles; in 1914, translated by Gao Yan (ie, Koshida), Zeng Zhizhi corrected and published the first “harmony” ② in China; from 1920 to 1921, Xiao Youmei