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The use of music language

2019-11-26 来源: 51Due教员组 类别: Paper范文

下面为大家整理一篇优秀的paper代写范文- The use of music language,供大家参考学习,这篇论文讨论了音乐语言的运用。20世纪对于俄罗斯来说是一个充满挑战与不断探索的时期,音乐语言的运用使得作品的创作更加贴合实际,将现实性与生活性表现得淋漓尽致。受到欧洲启蒙运动的影响,理性的思维逐渐成为人们生活的重心,人们强调追求更加真实的自己,摆脱19世纪教会的束缚,创作的音乐也无不体现出多样化的音乐元素以及集真实的内容和客观的社会现实于一体的综合性体现。

In the 20th century, the theory of modern composition technology gradually matured and reached its peak. With the rise of the Russian national music school and the formation of the national music language, a new group of composers represented by slonimsky stood on the world stage. As one of the representatives of the transcendence of modern composition technology, slooneimsky has his own unique music language, which he applies in his works and displays through the characteristics of tonality, harmony, melody and rhythm.

The 20th century is an era that breaks through tradition. With the outbreak of the third industrial revolution, electronic computer, biological engineering and space technology have become the source of innovation. Every composer also vies with each other to apply these technologies in their own works. The extensive application of new technologies is not only the inheritance and development of traditional composition theory, but also a revolution of thought, thus modern composition technology theory emerges at the historic moment. Composers are unable to get rid of the limitations of The Times, and their works are even more imprinted on this era. They follow the trend of history and try their best to get rid of the shackled by traditional composition techniques. Back to look at, nim of polyphonic works the 24 prelude and fugue, for Bach's "the average of the piano" with a certain inheritance and lineage, using natural major and minor system, the traditional writing methods combined with natural mode, highlight the chromatic characteristics, combined with eastern and western national mode, with a strong national music style characteristics, and reflects his at the same time, in the tradition of unique personality characteristics of music, the composer has its own unique insights.

A composer when work, music language this factor is the necessary factor, showing a work personalized, nim, it has the characteristics of national style of music language, used in the works, is the most backbone elements of the novel, when an atonal music has grown in the 20th century, the development of music power have to again form the internal extension, to show the expression of music emotion whether to belong to what kind of style. Therefore, the change of music language can represent the keynote of the whole work, and the use of music language also determines the originality of this work.

The beginning of the 19th century, Russia's great patriotic war, December socialist movement rash, combined with the development of the European enlightenment, feudalism, the wave of the church gradually heating up, represents a rational culture, thought the hopes gradually in people's hearts, yearning for free and rational, home to revive the hope of the seeds in the Russian people's heart. By the 1830s, the spread of nationalism had reached a mature stage. Russia is a vast country with more than 130 ethnic groups. The most representative feature of Russian national music is the dance and song that can reflect people's thoughts and emotions as well as the social reality.

Glinka became the pioneer and explorer of Russian national music language. Later, in the 1860s, the first group of national music composers, such as "powergroup" and Tchaikovsky, gradually completed their works. They not only praised the development of Russian national folk music, but also played a fundamental role in the formation of "national style characteristics". At the same time, they also directly influenced the development direction of Chinese symphony style. In the early 1840s, western culture was gradually introduced into China, and the integration between China and the west gradually reached the peak, and formed the road exploration of Chinese music works in the 20th century.

In the 20th century, a new group of composers of national music began to be active on the stage, such as shedling, shostakovich and slonemsky, who became the most representative nationalist composers at that time. Born in Leningrad in 1932, slonimsky is known as "the spiritual leader of Russia". The most prominent feature of his works is that they are strongly nationalistic, and the national music language is reflected in the creation of harmony, melody and rhythm principles, which has become his unique label.

The development of harmony mode of European national music school is not only the inheritance and evolution of Bach's traditional harmony mode, but also the supplement and expansion of music in other music regions. Influenced by Russian polyphonic music in the 19th century, this kind of paradigmatic music language was integrated into the national music language, which laid a foundation for the development of Russian whole music.

Slonemsky became the most influential composer in contemporary Russia, not only thanks to the lead of the first group of national music composers, but also has a deep personal origin. His father is a representative figure of the Soviet literature, this work is based on the Russia national traditional culture, he grew up, at the beginning of the learning music, while having some setbacks, but always uphold the play to the spirit of the Russian traditional culture, his teacher it is Allah, led him to this road. Arabov was sent to work in China in the 1840s and wrote such works as free China and Chinese piano ditty. Slonimsky was deeply influenced by this teacher. Although he grew up in an anti-modern music environment, he developed a strong interest in modern music language and creative theory and technology, and became the representative of modern music in Russia. His band work "carnival overture" and suite "funny picture" established his own music language, and the late polyphonic series "24 prelude and fugue" made him become a master composer in Russia.

The establishment of the Russian folk sent works is not opposed to the "one-sided", only using the modern composing techniques, not only inherits the traditional big minor system, it is more like a bridge that crosses from the traditional and modern, in the national music glinka create language has as a supplement and perfection of traditional music style works, namely the simplification of the 18th century music works to further enrich and expand. "I don't think there needs to be a single genre in the 21st century -- the fundamentalism of avant-garde or folksy art, but the versatility," sloenimsky once said.

"24 prelude and fugue", created by szlonimsky according to Bach's piano collection with average temperament, not only became a leading polyphonic work in Russian history, but also played a good demonstration role in the creation of polyphonic cycle. During the same period of shchedrin and shostakovich a second batch of national style works, users, their works of music language, although there is a classical Bach's creation style and the factors, but not to remain completely consistent, especially in the mode tonality, harmony, melody and rhythm, rhythm, they have their own unique style of writing. For example, shetellin mostly adopts the fifth cycle of parallel major minor, plus the use of national music language, the first symmetry, and breaks the mode of traditional prelude and fugue entering in pairs. Shostakovich also adopts the fifth cycle of parallel major minor, which is different from Bach's sequence of homophonic major and minor. It can be said that the application of tonal overlap is fully developed.

In Russian 20th century music creation, due to the development of European major and minor key system and the innovation of composition technology and theory, tonality has become a necessary factor for composers to consider when creating works. The use of tonality can not only fully show the keynote of the work, but also make the development of music show modernity and comprehensiveness. Modeled on the use of European twelve-tone series, stravinsky music works in sequences, functional techniques of shostakovich's works showed the style characteristics of the Russian music in the 20th century, and has the very big difference with the traditional theory of tonality, music creation in Russia increased to a new stage. The development of the natural system of major and minor keys is of new theoretical significance from its origin. The application of the natural mode not only makes each chord have its own individual meaning and value, but also expresses the work of this kind of independent meaning with the help of the expansion of the internal function of the mode and the internal power. , nim, it is around this key principle, with the development of the natural mode, different tonality overlap, or will the same tonality different mode of overlap, to form a new sequence, with similar Bach has twelve notes at the same time, also makes own each chord has a fixed meaning, fully show the modern Russian composer registration of technology innovation.

The traditional tonality structure is mainly used in the natural large and small tonality, based on which the phenomenon of systematic nature is constituted upward. This systematic relationship is very different from the modern tonality structure. Traditional technical theory of composition emphasizes that a work must have a certain tonality, that is, on the basis of tonality, it means the mode of creation on the basis of harmony. The concept of traditional logic is relatively clear, and the composer always adheres to this idea in creation and strictly follows it.

Nim, as a master of Russia in the 20th century polyphonic works he composed of tonal structure is in strict accordance with the Bach twelve-tone sequence arrangement, chromatic uplink, a semitone above are arranged in a major and a minor, the topics are on the same tonality, contains the main chord to belong to the use of chords, the use of multiple key into the openness of tonality layout. For example, the use of dominant and dominant chords: t-s-d, t-s-t-d. In piano works, which he wrote in 1962, is a good use of this principle, including Alfred schnittke kay also apply in the first violin concerto in the sequence of creation techniques, very have their own characteristics and significance of the third movement, at the end of playing the violin, the sequence of the framework used in the dance music "the hostess dance" of Russia. There is also chamber music, "the humorous concerto", written in 1965, which changes the twelve tone sequence to natural mode, emphasizing the structural layout of this sequence. For example, he started with the tritone sequence, that is, he emphasized the beginning of c-d-f. The first twelve tone sequence in his works was endowed with a distinctive Russian melody style. The tonal analysis of his works is as follows: e, d, f, e, #f, a, b, bb, ba, be, #e, g.

The biggest characteristic of sloonemus's works is the outstanding national style. The use of national mode in the east and west, that he used the natural mode of system and national mode, the combination of both his writing style is divided into three periods, the early rise in the Russian national music creation style to send, on the basis of their creative ideas gradually tends to realist works and style, to give full expression to the application of Russian music folk tune, and use the folklore and mythology, enrich their own work.

In slonimsky's work, you can also see the use of mixed modes. For example, the lidian mode, the medieval mode and so on, and the Russian national characteristics of "long music", marked by asymmetric rhythm rhythm. For example, in the first song of 24 prelude and fugue, the western major mode and the medieval mode are combined, and the modes overlap and alternate continuously, and the two make use of modularization to make music continuously dramatic, and finally return to the main tone.

Harmony in the traditional sense expresses the combination and connection between different sounds. According to the sound principle of harmony in major and minor keys, this kind of irregular connection forms a regular sequence, which is inherited and expanded with the harmony principle in the modern sense.

The development of harmony and tonality are always in the same system and affect each other, which directly promotes the development of tonality and melody.

The structure of chord is usually expressed as the superposition of three notes. The traditional chord structure makes full use of the characteristics of natural mode. According to the different natural mode, the chord expresses different meanings. The structure of modern chords is often not determined according to the natural mode. Its freedom often leads to no direct correlation between tonality and chords, which weakens the influence of the natural mode on harmony. Instead, the root of the three notes is taken as the most fundamental note, and on this basis, it constantly transforms to form its own style characteristics. Such complexity and dissonance, on the one hand, follow tradition, on the other hand, show diversity and color. Especially the harmony of national mode, this unique harmony language has a good reference significance for the creation of the tune with the traditional style of national folk music. Compared with the classical style, the harmony style of Russia is more regional and national.

The progression of chords also turns the twelve tone sequence in the classical period into a semitone system. It is not only the transverse comparison of chords, but also the longitudinal comparison of chords. Although it is a superimposed chord, the adoption of Oriental mode and the structural arrangement of chord are very important for the expression of emotion. The interval relation of fourth, fifth, second and seventh degree is seldom used.

The counterpoint theory of chords changed a lot in the 20th century. The most prominent one is the principle of "linear counterpoint", which emphasizes the horizontal movement of each part of the chord to form "melody line" instead of only emphasizing the vertical melody. This kind of polyphonic creation technique is the innovation of modern composition counterpoint technology. Most of the traditional counterpoint principles appear in the form of chord superposition, and most of them use discordant notes to solve the main method of concordant notes, let alone vertical horizontal four horizontal eight principles of creation. However, the "linear counterpoint" emphasized by modern music is to emphasize the horizontal progression of chords to form a certain "melody line". This mode of melody is not dependent on tonality and has no direct connection with the resolution and tendency of dissonance. The horizontal counterpoint principle is actually compared with the vertical one. The horizontal functional movement is not to highlight the horizontal progress of chords, but to change the traditional chord counterpoint and pay more attention to the vertical chord counterpoint, so that the two can be combined. Although slonemsky tried his best to be similar to Bach in the structure and conduct of chords, the features of chord structure in his works did not only emphasize the longitudinal development of chords, but were more of a comprehensive performance, combining the horizontal and vertical factors to complete the functions of the works.

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