论文部分内容阅读
说起音色 ,人们通常理解为系指不同人声、乐器相互间的色彩性差异 ,或是同一人声、乐器自身音区间的色度之别。如今 ,音色涵义似又有了微妙的引伸 :音乐书籍及音乐评论文章中常可见到“和声音程色彩”或“和弦色彩”之说 ,以及“音响色彩”“和声色彩”等词汇与“色彩明亮”或“色彩暗谈”之类的形容。可见 ,人们对音色的认识早已进入了新的领域。为认识这一音色新域 ,本文试从学习和运用保罗·兴德米特 (德 Paul Hindemith1 895— 1 963 )《作曲技法》一书中有关结合音的论述入手 ,探索乐音的自然色彩与艺术色彩的属性之分别及其表现功能
Speaking of timbre, people are generally understood to mean different vocals, instruments of color differences between each other, or the same voice, the tone of the instrument’s own tone range. Nowadays, there is a subtle extension of timbre meaning: “Harmony tone color” or “chord color” can often be seen in music books and music commentary articles, and words such as “audio color” and “harmony color” Bright “or” color dark talk “of the description. Visible, people’s understanding of tone has long been into a new area. In order to know the new domain of tone, this essay begins with the study of the combination of tone in his book ”Composition Techniques" by Paul Hindemith (1895-19631), exploring the natural colors and art of tones The distinction between the color attributes and their performance features