作 者: ;
机构地区: 星海音乐学院
出 处: 《星海音乐学院学报》 2008年第1期16-21,共6页
摘 要: 西方音乐从中世纪至文艺复兴时期,弥撒仪式中的素歌逐步发展为多声部音乐形态并形成弥撒套曲。弥撒套曲又经历了前导动机弥撒曲、定旋律弥撒曲、仿作弥撒曲以至释义弥撒曲等不同的历史阶段。弥撒曲从纯粹的仪式音乐演变为兼有仪式功能和审美功能的艺术音乐体的过程,不仅是弥撒曲自身的蜕变,也是同期西方音乐中神学内涵与音响形式趣味的二元对立与兼容的体现。 From Middle Ages to Renaissance, eantus planus in the mass ritual developed into counterpoints and got into the form of mass divertimento, which then experienced the phases of motto mass,cantus firmus mass parody mass,paraphrase mass. The course of Mass music developed from pure ritual music into the art body with both ceremonial and aesthetic function not only is the metamorphosis of Mass Music itself, but also the enbodiment of the dual antinomy and eompatibility of theology connotation and acoustics form gusto in the Western Music of the time.
关 键 词: 西方音乐史 宗教音乐 弥撒曲 基督教神学 形式美感
领 域: [艺术]