The Key Realm Types Of The Chinese Modern Harmonic Techniques And Their Historical Trends

Taking the harmonic techniques in the music creation in the Chinese modern times as the study object, this dissertation summarizes the characteristics of those techniques, analyzes their thought origins and observes their historical trends, intending to provide a new academic view for the music history of the Chinese modern times by presenting the historical retrospect and summarization, as well as the technical analysis and induction.On the basis of exploring the formation and the development of the national style in the harmonic techniques in the Chinese modern times, this dissertation presents a macro and historical summary of the Key Realm in the harmonic techniques, which includes the tonality pattern, the mode pattern, and the tonal centre pattern. It also shows the historical trends and the thought origins of the mono-mode pattern within a long period of time in the modern times. By providing examples, the author also intends to prove that the Key Realm types are of practical value to analyzing the harmonic techniques, the changes in styles, and characteristics of the individual composers.As an analytical method of harmony, the Key Realm Analysis, approaching to composition in the Chinese modern times, owes much to the Western theories of harmonics as well as the Chinese Key-mode theory.The Key Realm, this new concept stems from "Diaoyu" or "Yun" .which is a basic term in the Chinese music theory, with the extension changing from 7-pitched material to 12-pitched one. The Key Realm Analysis is actually the analysis of the organization principles and the expansion means of the pitch materials in music composition. The main origins of its theoretical basis are Schoenberg's Monotonality, Bartok's Chromaticism and Hindemith's Tonal Centre. As these three theories are of great conference value to the tonality, mode and the tonal centre that are shown in the harmonic techniques in the Chinese modern times, the expansion of the Key Realm in the three theories becomes the focus of attention and is well applied in this dissertation.By conducting the Key Realm Analysis of the typical works, the dissertation follows the track of the expansion means of the Key Realm, and recounts the harmonic development process from tonic, Gong to tonal centre In this historic process, the Chinese style has been realized and its variety can be seen in the induction of the Key Realm types.By exploring how to realize the Chinese style in the harmonic techniques, the author wants to point it out that, the music creation in the Chinese modern times can be soaring more powerfully, with the positive combination of the expansion of the "scientific method" and the strengthening of the national characteristics. The author concludes that it is not only the historical truth of the music history of the Chinese modern times, but also the value orientation for the present music creation, that the development of creation expands from both learning from the Western techniques and recognizing the Chinese characteristics, and the best combination of the two.The academic achievements of this dissertation are as follows: Firstly, it is the first one to put forward the new concept of the Key Realm and the proper method for the Key Realm Analysis; Secondly, it is the first one to put forward the three patterns of harmonic techniques and the historical trends and the thought origins of the mono-mode pattern; Thirdly, it develops the new field for the cross-discipline research in the historiography of music in the Chinese modern times by combining the harmonics with the music history, and by integrating the studies of the thought, the technique and the work.