The Theoretical Basis And Technical Logic Of National Polypentatonic Counterpoint

Since the 1980 s,Chinese composers have consciously integrated western modern composing techniques into the creation and practice of Chinese national music,and made many achievements.Among them,it is a successful attempt made by Chinese composers to combine the western "polytonality counterpoint" technique with the theory of Chinese native mode,so that all parts have obvious tonality and are more confrontational when combining vertically.But this also raises the question for the research of national "polypentatonic counterpoint" : can the existing principles and methods of "polytonality counterpoint" in the west be directly applied to the creation of national music based on Chinese pentatonic mode? If not,what innovations should contemporary folk music make when using such techniques to create?The author puts forward the concept of "polypentatonic counterpoint",and proves the rationality of the existence of "polypentatonic counterpoint" from the perspectives of modal logic and double tonic.In addition,the paper classifies the types of "polypentatonic and counterpoint" according to the inconsistency of the three elements of longitudinally combined voice parts,gong sound,tonic and mode,and puts forward a simplified comparison method for the change of tension theoretically.Finally,combining with examples,from the existing practice,the author summarizes the general principle and method of counterpoint.In order to provide a valuable reference for the theoretical study of the nationalization of "polypentatonic counterpoint" and the creation of modern and contemporary Chinese music.