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本文通过对敦煌乐谱及东传日本的“合竹”与易封的渗透研究,考证出中国唐代及其以前的传统古乐中就已出现比较严密的和声体系,从而否定了中国音乐中没有和声的说法。
Through the study of the Dunhuang music score and the penetration of “Zhulhu” and Yi-zhou in East Japan, the paper studies the comparatively strict harmony system in the traditional ancient Chinese music of the Tang Dynasty and its predecessors, thus denying the Chinese music There is no harmony.