长期以来,音乐听觉训练是以调性为中心的。在古典传统音乐的影响下,人们的听觉也逐渐形成了一种习惯,“即在一个音调组织内,每一个音,每一个和弦,每一个调的设计,都要对一个中心(即主音)具有妥善而明确规定的关系。”([英]莫·卡纳《当代和声》第11页)调性思维已在人们的听觉意识中打下了深深地烙印。自二十世纪始,随着音乐观念的变化,传统的调性原则已发生动摇。以单一调式、调性为基础的古典大、小调体系,在调性扩张、调式扩充等多种手法的冲击下,终于被极为多样化、个性化的音高关系体系所取代。许多风格各异、个性鲜明的新的音乐语言毕竟在音乐领域中占据了一席之地。这些新的音乐语言,由于与传统的常规不符,使人们长期形成的听觉习惯一时难以适从。新的音乐语言难以理解与不易听辨,已成为听觉训练中的一大难题。因 For a long time, music and hearing training is based on tonality. Under the influence of classical traditional music, people’s hearing has gradually become a habit. “That is, in a tone organization, every tone, every chord, every tune design, should be a center (ie, the lead) Has a well-defined and well-defined relationship. ”([English] Mo Canner,“ Harmony of the Present, ”p. 11) Moderating thinking has been deeply imprinted on people’s sense of hearing. Since the beginning of the twentieth century, with the change of musical concept, the traditional principle of tonality has been shaken. Under the impact of various tactics such as tonal expansion and modal expansion, the classical major and minor minor systems based on single tone and tonality have finally been replaced by extremely diversified and individualized pitch relation systems. Many new styles of music with distinctive styles and distinctive personalities, after all, occupy a place in the field of music. These new musical language, due to the traditional discrepancies, make people’s long-term auditory habits difficult to adapt. The new music language difficult to understand and difficult to understand, has become a major challenge in the auditory training. because