【作者】 周天星；

【导师】 朱敬修；

【作者基本信息】 河南大学 ， 音乐学， 2003， 硕士

【摘要】 复对位是对位法中一种重要的技巧，在学习对位法时，复对位也是较难理解的内容之一。历史上对位与和声是共生共荣的关系。和声学源于对位的实践，反过来和声学又影响着对位法原则的形成与发展，并逐渐将对位纳入自己的控制之下，于是出现了巴洛克复调音乐的顶峰时代。而在近代以来，对位与和声是分开来研究的，由之产生的结果是，二者被对立起来理解，因而产生了认识上的偏差与学习上的困难。基于上述事实，本文首先将和声学与对位法的关系进行了梳理，将对位分为三种形态。每种对位分别对应各自的和声观念，依次为：音程对位——音程和声；调式对位——调式和声；调性对位——调性和声。其中对音程对位的分类是本文提出的对对位法分类的新观点；并通过论证揭示和声思维指导对位写作的必然性。 然后，从和声节奏、和声序进的角度入手论述复对位的写作。先依据对位织体中旋律之间结合时形成和弦的规律,设计了一系列相配套的和弦复对位变化表以及相关的符合系统；再将谱例中和声序进在复对位前后的变化形式进行定性定量的分析比较，揭示出和声思维在复对位写作中的运用规律。本文对复对位前后和声序进变化规律的论述是作为一种新的复对位写作理论而提出的，即以和声序进的变化规律来控制复对位前后的各项变量如音级、音程、调式调性等的运用，简而言之，就是以和声思维来构思复对位的写作。更多还原

【Abstract】 The technique of double-counterpoint is one of the most important compositional methods，besides, it is also the most difficult part to comprehend in the study of counterpoint.Counterpoint and harmony are never separated in history. Harmonics originals from the practices of counterpoint and which in turn influences the formation and practices of the writing of counterpoint, and gradually brings counterpoint into its own control. The result of this process is the appearance of the prosperity of Baroque polyphony. Since the modern time, counterpoint and harmony become two separate subject of study, the result of which is that one is comprehended as conflicting with the other, thus producing an error in judgment and the difficulty in study .Based on above facts, in part 1 the author combs out the relationship between harmonics and counterpoint method, and then divides counterpoint into three kinds of states. Each state of counterpoint has their own corresponding concept of harmony. These correspondences are listed as follow: interval counterpoint - interval harmony, mode counterpoint - mode harmony, tonality counterpoint- tonality harmony. Among these three correspondences, the division of interval counterpoint is a new viewpoint toward the division of counterpoint; the author also reveals and proves the inevitability of the guiding function of harmonic thinking in the composition of counterpoint. In part 2, the author has a discussion of the composition of double- counterpoint from the angle of harmonic rhythm and harmonic processing. Firstly, the author designs a complete set of the changing chart of the double - counterpoint of chords according to the law of chords formed in the combination among the melodies of the contrapuntal texture, and builds up a interrelated corresponding system. Then, the author makes a nature-determining and quantity-determent analysis and comparison between the changing forms of the chord processing in examples of musical score before and after<WP=6>double-counterpoint, thus disclosing to the readers the application law of the harmonic thinking in the composition of double-counterpoint. The changing law of the chord processing before and after the double-counterpoint is regarded and pointed out by the author as a new compositional theory of double -counterpoint, namely, to control the use of variables such as pitch class, interval, mode and tonality etc before and after counterpoint through the changing law of the chord processing. In a word, the author proposes to work out the composition of double-counterpoint by the use of harmonic thinking.更多还原