|
|
| 欢迎加入QQ群（群号: 10143362）交流本站资料，本站内容及吉他学习软件下载：吉他新手村V2.01>> |
| 【古典吉他教程】【古典独奏谱例】【技巧与进阶】【新手必看】【吉他，你必须知道的】 |
| 【综合类】【民谣吉他】【弗拉门戈吉他】【电吉他】【综合乐理知识】【历史★名人名家】【吉他杂文】【无关于吉他】 |
| 返回首页/索引页 |
此部分共[4]页： 1>> 2>> 3>> 4>> 〖Principles of Counterpoint by Alan Belkin〗 Stylistic Assumptions If we are to see counterpoint in this way - as an aspect of composition and not as a self-contained discipline - we must define the limits of our approach. We repeat here some of our remarks in the first book of this series: It is difficult to teach composition without making at least some assumptions about formal requirements. The crux of our argument here is that many basic notions enumerated here result from the nature of musical hearing. Let us make clear some of the assumptions behind the phrase "musical hearing". We assume first that the composer is writing music meant to be listened to for its own sake, and not as accompaniment to something else. This requires, at a minimum, provoking and sustaining the listener's interest in embarking on a musical journey in time, as well bringing the experience to a satisfactory conclusion. Thus, "musical hearing" implies here a sympathetic and attentive listener, at least some of whose psychological processes in listening to the work can be meaningfully discussed in general terms. We will limit our discussion to western concert music. Non-western music, which often implies very different cultural expectations about the role of music in society or its effect on the individual, is thus excluded from our discussion. Further, although some of the notions presented here may also apply to functional music (e.g. music for religious services, ceremonial occasions, commercials) all these situations impose significant external constraints on the form: The composer's formal decisions do not derive primarily from the needs of the musical material. In concert music, by contrast, the composer is exploring and elaborating the chosen material in such a way as to satisfy an attentive musical ear. Despite my belief that counterpoint is best studied through tonal exercises (it is easier for a beginner to work within a familiar framework than to define a coherent language from scratch), the principles defined here will not be entirely limited to tonal music. The thoughtful reader will quickly see applications which do not depend on tonality. 此部分共[4]页： 1>> 2>> 3>> 4>> 〖Principles of Counterpoint by Alan Belkin〗
其它网站内容导航 建议初学者循序渐进一课一课地学习这些内容 吉他学习预备知识－购买吉他的建议／吉他资料搜索技巧／吉他学习步骤／五、六线谱基础等 吉他基本弹奏练习--右手基本技巧／半音阶（左手按弦要求）／音阶／ 民谣吉他中的常用和弦、右手节奏类型、简易弹唱曲 适合吉他初学者弹奏的一些吉他曲（可用以提高兴趣，增强学习吉他的信心和毅力） 我对吉他的理解与随想（一些吉他相关的杂文）... 古典吉他(名)曲（谱例／视频／介绍） 吉他学习进阶－不是那么适合初学的一些吉他知识／练习及相关资料 |
Copyright:www.guitardyg.com@2009-2018 |