论16世纪意大利牧歌的产生及主要风格流变

发布时间：2018-05-30 07:38

本文选题：牧歌 + 文艺复兴　；参考：《上海音乐学院》2013年博士论文

【摘要】：文艺复兴属欧洲音乐辉煌期之一,此期因声乐创作之技术精湛、多姿多彩而获“声乐复调黄金期”的美誉。其中,意大利牧歌是最重要、影响最大的俗乐体裁,作为一种多声诗乐体裁,它力求以音乐去最大限度表现诗歌的内容、意象、情感等,故促使作曲家充分挖掘新、旧音乐技法,牧歌成为当时许多音乐创作革新的试验田,大多数为诗歌配乐的手法在16世纪意大利牧歌中确立。该体裁影响遍及当时欧洲,很大程度上集中体现出文艺复兴盛期的音乐发展轨迹,所以,了解其产生及风格演变,具有重要的学术价值及现实意义。对文艺复兴音乐研究在国外较为深入和广泛,但国内“对这个领域的研究一直滞后,直到近十年来才开始真正的起步”(于润洋先生语),而对意大利牧歌的产生及诗义音乐表现手法流变的专门探讨更是尚未发现。本文在广泛研读相关文献(尤其是外文)的基础上,通过对代表性牧歌作曲家的代表作作分析——主要集中体现于配乐对词义表现手法的探究及对牧歌曲式的具体解构上。同时,力求结合聆听一些代表作的实际音响以验证课题探讨的结论。通过分析、综合的方法,本文将16世纪意大利牧歌的产生归为外来技法(法-佛兰德乐派)、本土及外来体裁(狂欢节歌、弗罗托拉、尚松、经文歌)、意大利诗歌三者联姻所结出的果实,其主要风格发展沿体裁初步形成、风格成熟、风格混合、风格多元的脉络进行,其中,绘词法为该体裁一本质属性,尤其在第二、四种风格中达登峰造极,围绕这一理念,作曲家无所不用其极,其中包括声部进行、织体、和声等方面的相应表现。牧歌的曲式于中外尚未发现对其所作分析,故本文将之作为探讨重点。笔者通过对大量乐谱作分析后,选各期三首代表作加以详析,得出“基于变体-分段结构基础上,结合诗歌选择差异,配乐曲式日趋自由”此基本论点,其结构还蕴含了之后若干古典固定曲式之萌芽,这同时也印证了曲式作为牧歌“以乐绘诗”体裁属性之重要一环。16世纪意大利牧歌影响深远,主要体现于音乐技法的传播、音乐表演形式的改革,从而为后续体裁诞生、巴洛克音乐风格形成创造了条件,总之,16世纪牧歌使意大利首次真正成为欧洲音乐中心,为意大利日后音乐繁荣进而影响欧洲音乐二百年奠定了坚实的基础。了解其产生及风格流变,不仅可认识该体裁本身,同时更有助于我们探究欧洲文艺复兴音乐的审美及表现。
[Abstract]:Renaissance is one of the brilliant periods of European music, this period is known as "Golden period of vocal polyphony" because of its exquisite technique and variety of vocal music creation. Among them, Italian pastoral music is the most important and most influential genre of popular music. As a genre of multi-tone poetry and music, it tries to maximize the performance of poetry content, image, emotion and so on with music, so it urges the composer to fully excavate the new style. The old musical techniques and pastoral songs became the experimental fields of many music creation innovations at that time, most of which were established in Italian pastoral songs in the 16th century. The influence of this genre was widespread in Europe at that time, which to a large extent reflected the development track of music in the prosperous period of the Renaissance. Therefore, it is of great academic value and practical significance to understand its emergence and style evolution. The study of Renaissance music is more thorough and extensive in foreign countries, but domestic "research in this field has been lagging behind." It was not until the last decade that the real start "(Mr. Yu Runyang said), and the creation of Italian pastoral songs and the evolution of the poetic and musical expression of the special discussion has not been found. On the basis of extensive reading of relevant documents (especially in foreign languages), this paper analyzes the representative works of the composer of pastoral songs, which are mainly embodied in the music's exploration of the expressive techniques of word meaning and the concrete deconstruction of pastoral songs. At the same time, try to listen to some representative of the actual sound to verify the conclusion of the subject. By analyzing and synthesizing methods, this paper classifies the generation of Italian pastoral songs in the 16th century as foreign techniques (Franco-Flemish), native and foreign genres (Mardi Gras, Tora, Shansong, etc.) The fruit of the marriage of scripture and Italian poetry, the main style of which develops along the context of the initial formation of the genre, the maturity of the style, the mixing of styles, and the multiplicity of styles. Among them, pictorial morphology is an essential attribute of the genre, especially in the second. Around this concept, composers have no choice but their poles, including the corresponding performance of voice, texture, harmony and so on. The form of pastoral songs has not been found in the analysis of it in China and abroad, so this paper focuses on it. After analyzing a large number of music scores, the author chooses three masterpieces of each period to analyze in detail, and draws the basic argument that "based on the variable-segmental structure, combining with the differences in the choice of poetry, the score forms are becoming freer and freer". Its structure also contains the germination of a number of classical fixed forms, which also confirm the profound influence of music as an important part of the genre attribute of "painting poem with music" in the 16th century, which is mainly reflected in the spread of musical techniques. The reform of the form of musical performance created the conditions for the birth of subsequent genres and the formation of Baroque musical styles. In short, pastoral songs in the 16th century made Italy for the first time truly a European music center. It laid a solid foundation for the future prosperity of Italian music and the influence of European music for two hundred years. Understanding its emergence and style can not only understand the genre itself, but also help us to explore the aesthetic and performance of European Renaissance music.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J609.546

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