摘要
专业复调音乐教学在中国不到百年的历史。20世纪50年代之前以"对位法"、"赋格"为课程名称,之后改用"复调音乐"延续至今。近年来,有些学者提出要恢复它原来的名称,但许多学者则认为这是时代和学科发展的必然结果。因此,学界展开了多年的关于课程名称问题的大讨论。本文针对杨勇教授的"是对位还是复调"的问题发表自己的一点见解,主旨是进一步思考我国复调音乐教学及其学理的研究。站在复调写作技术教学的发展角度,以全国"三次复调学术会议"为基点,在分析的基础上,认为欧美、苏俄复调音乐教学体系的形成总是与它的历史和文化紧密结合,而我国复调音乐课程体系经过几代人的努力,同样形成了自己独特的风格。
The professional teaching of polyphony has had a history of less than 100 years in China. The courses in this field had been known as ＂Counterpoint＂ or ＂Fugue＂, which were replaced by ＂Polyphony＂ in the 1950s and the name has been in use up to the present. Recently, some scholars suggested resuming the earlier course names, but many others argued that the substitution had been the result of the historical and dis- ciplinary development of polyphony. Thus for years the debate on the course names has been going on. This paper, based on the author＇ s participation in a research project led by Prof. Yang Yong entitle ＂Counterpoint or Polyphony＂, is a further reflection on the teaching of polyphony and its theoretical research. Starting from the three national conferences on polyphony teaching and in the developmental perspective of the teaching of polyphonic writing, the author argues that the development of polyphony teaching system in Europe, America and Soviet Union （now Russia） is closely integrated with their history and culture, and polyphony teaching in China, after the efforts of generations, has formed its own unique style.
出处
《浙江师范大学学报（社会科学版）》
北大核心
2013年第1期113-120,共8页
Journal of Zhejiang Normal University(Social Sciences)
关键词
对位法
赋格
复调音乐
可动对位
塔涅耶夫
counterpoint
fugue
polyphony
movable counterpoint
Sergey Ivanovich Taneyev （ 1856-1915）
