莱因哈德·巴尔生于1951年，在汉堡和维也纳学习音乐、音乐理论与作曲。 1985年，他在吕贝克音乐学院担任讲师，1992年在汉堡音乐学院担任音乐理论教授，1996年至2004年担任创作、音乐理论、音乐学和指挥学院主任。莱因哈德·巴尔与克里斯托夫·霍尔菲尔德合作了论文Schule musikalischen Denkens - Der Cants-firmus-Satz bei Palestrina。 此外，他发表了几篇关于十八至十九世纪的音乐理论、即兴和流行音乐的文章。 2012年以来，他在中国和意大利开办了几次研讨会和大师班。巴尔教授因为其创新的流行音乐曲调分析方法获得了汉堡科学研究管理局2017年度教学奖。
Born in 1951, Reinhard Bahr studied School Music, Music Theory and Composition in Hamburg and Vienna. In 1985 he became lecturer at the Musikhochschule Lübeck and in 1992 professor for Music Theory at the Hochschule für Musik und Theater Hamburg. From 1996 to 2004 he was dean of the faculty of composition, music theory, musicology and conducting.
Reinhard Bahr worked with Christoph Hohlfeld on the counterpoint treatise Schule musikalischen Denkens – Der Cants-firmus-Satz bei Palestrina. Furthermore, he published several articles on issues of 18th and 19th century music theory, embellishment and popular music. Since 2012 he has given several workshops and masterclasses in China and Italy.
Prof. Bahr is recipient of the 2017 Teaching Award of the Hamburg Science and Research Authority for his innovative approach to Melody Analysis in Popular Music.
旋律分析 - 音乐理论中被忽视的学科。
（专题部分：20世纪音乐理论研究的新思路、新方法、新技术）
Melodic Analysis – A Neglected Discipline in Music Theory.
(Thematic section: New thought, new approach, new technology of 20th century music theory research.)
20世纪以来，因为功能和声的消失，人们对旋律的关注不断增加。18世纪末和19世纪的美学中，旋律依然被普遍认为是不可教授的，反例很少。然而，关于和声、曲式和对位法，我们可以回顾一下过去的教学传统，这一传统至少持续了二百七十年。在我的论文中，我首先会简要介绍自18世纪上半叶以来的旋律理论。然后我会概述汉堡音乐理论家克里斯托夫·霍尔菲尔德（1922-2010）的有关旋律的理论。他的原创方法是基于古代的颂歌调式和纯粹的单声部风格体验。霍尔菲尔德的理论被视为音之间的关系以及某些音色的关系。在关于巴赫和贝多芬的出版物中，霍尔菲尔德在和声、结构和曲式的全面分析方面扩展了他基本的旋律方法。在这篇论文中，我会将霍尔菲尔德的理论应用于闻名世界的流行音乐领域的一个例子。以此展示如何使用丰富的德国传统方法作为21世纪全球化研究中旋律分析的有力工具。
Only since the 20th century the attentiveness on melody has consistently increased – essentially due to the dissolution of functional harmony. In late 18th and in the 19th century aesthetics, melody was still generally regarded as not to be teachable. Counterexamples were sporadic. Concerning harmony, form and counterpoint, instead, we can look back on a continuous teaching tradition that embraces at least the last two hundred and seventy years.
In my paper, I will give first a short overview of melodic theory since the first half of the 18th century. Second, I will outline the theory of melody of the Hamburgian music theorist Christoph Hohlfeld (1922–2010). His original approach is based on ancient Magnificat modes and experience in pure monophonic style. Hohlfeld’s theory is to be understood as a system of relationships between tones as well as a system of certain tone qualities. In his publications on Bach and Beethoven Hohlfeld has spread his elementary melodic approach over full analytic aspects of harmony, structure and form. Whereas I will, here finally, apply the Hohlfeldian Theory on a world-renowned example from the field of popular music. In this way, I will show how to use a German approach rich in tradition as a powerful tool for melodic analysis in 21st century globalized research.
