文艺复兴时期欧洲合唱艺术研究

发布时间：2018-04-25 15:05

本文选题：文艺复兴 + 人本精神　；参考：《湖南师范大学》2004年硕士论文

【摘要】：14世纪到16世纪末，是欧洲从封建主义向资本主义的过渡时期。腐朽的以教会为统治地位的封建制度一步步走向末路，新生的资产阶级以“人文主义”向其宣战。在其影响下，欧洲社会的文学和艺术迎来了“久经黑暗后的新生”。相对于文学和造型艺术，音乐上的文艺复兴从15世纪上半叶才开始。在西方音乐史相当长的一段时间里，14、15、16世纪中世纪和文艺复兴的音乐被认为是纯粹的声乐，甚至称为是“无伴奏合唱时期”。虽然后来的史学家和音乐家认为事实并非如此，，但我们一般都是通过对多声声乐作品来了解这段时期的音乐的。因此，从一定意义上说，欧洲文艺复兴合唱艺术的发展和历史就是欧洲文艺复兴时期的音乐史。本文是以三大部分来对文艺复兴时期的合唱艺术展开论题：第一部分是背景和条件；第二部分是合唱艺术的发展历程；第三部分是从人文形态来分析文艺复兴合唱艺术的思想内涵和精神精髓。第一部分是从社会历史背景、思想意识潮流和作曲技法和形式上的发展来展开。在发展历程的论述中，本文亦将从三方面来展开：1、15世纪30年代到16世纪中叶，以法—佛兰德作曲家(尼德兰乐派第一代、第二代和第三代)为线索，分以迪费、奥克冈和约斯堪为主要代表作曲家，文艺复兴的合唱音乐从早期进展到复调合唱音乐的盛期；2、16世纪合唱艺术的新趋势：主要是欧洲各国世俗性和民族性的合唱艺术的繁荣。其中以意大利与英国的牧歌、法国的新尚松、德国的利德为典型。3、以16世纪宗教改革与反宗教改革的对文艺复兴合唱艺术的影响为基础，以帕莱斯特里那为代表的罗马乐派和加布里埃尼叔侄俩为代表威尼斯乐派，他们将以宗教体裁为主的合唱艺术推向了纯人声多声合唱艺术的巅峰。第三部分是以“人”为本的人本精神在合唱艺术中的体现。分别人的感性听觉、人的情感表现、人的个性自由的发挥这三方面对合唱艺术的特征展开阐述。
[Abstract]:From the 14 th century to the end of the 16 th century, Europe's transition from feudalism to capitalism. The decadent feudal system, which is dominated by the church, is at the end step by step, and the nascent bourgeoisie declares war on it with humanism. Under its influence, the literature and art of European society ushered in a new life after a long period of darkness. The musical Renaissance began in the first half of the 15 th century as opposed to literature and plastic arts. For a long time in the history of western music, the music of the Middle Ages and the Renaissance in the 16th century was considered to be pure vocal music, even called the period of unaccompanied Chorus. Although later historians and musicians thought that was not the case, we generally understood the music of this period through the work of multi-vocal music. Therefore, in a sense, the development and history of European Renaissance chorus art is the history of European Renaissance music. The thesis is divided into three parts: the first part is the background and condition, the second part is the development course of chorus art. The third part is to analyze the ideological connotation and spiritual essence of Renaissance chorus art from the humanistic form. The first part is from the social and historical background, ideological trends and the development of composition techniques and forms. In the course of development, this paper will start from three aspects: from the 1930s to the middle of the 16th century, with Franco-Flemish composers (the first generation, the second generation and the third generation of Nidelan) as the clue, divide it into Defoe, the first generation, the second generation and the third generation. Okgang and Yoskans were the main composers. The chorus music of the Renaissance developed from the early stage to the peak of polyphonic choral music. The new trend of chorus art in the 16th century was mainly the prosperity of secular and national choral art in European countries. Among them, the pastoral songs of Italy and England, the new Shang Song of France and Leeds of Germany are the typical .3s, based on the influence of the religious reform and anti-religious reform on the art of the Renaissance chorus in the 16th century. The Romanists represented by Palestrina and the nephew Gabriel represented the Venetian music. They pushed the choir art of religious genres to the peak of the pure multi-voice choral art. The third part is the embodiment of humanistic spirit in chorus art. This paper expounds the characteristics of chorus art from three aspects: perceptual hearing of others, emotional expression of human beings and free display of human personality.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：J609.5

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