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长期以来,我们的作曲教学基本上都是围绕技术作 业而展开的。具体讲起来,无论是以和声、复调、曲式、配器“四大件”为主的基础性理论(包括相应原理和规则的讲解、写作、分析),还是以旋律写作、其他各种类别与不同规模写作等为主的应用性实践(包括具原创性的写作和以风格模仿为主的再创性写作),其目的,都是为了通过这些手段和方法,使学生掌握创作的技法,并通过有限的作品谱例展示对作品及其相关风格有一些了解。 当然,这样做的结果,使学生在处理局部技术问题的时候比较有把握,但是一旦在类别和规模上稍有扩展,他们的整体把握能力就会出问题,往往会暴露
For a long time, our composing teaching basically started around the technical operation. Specifically speaking, whether it is based on harmony, polyphony, music, with the “big four” based theory (including the corresponding principles and rules to explain, write, analyze), or melody writing, other various Category and practice of different sizes, including original writing and creative writing based on style imitation, the purpose of which is to enable students to master the techniques of creation through these means and methods And have some knowledge of the work and its associated style through a limited list of work examples. Of course, the result of this exercise is that students are more confident in dealing with local technical issues, but once their size and class are slightly expanded, their overall ability to handle problems and tend to be exposed