施尼特盖《第一大协奏曲》的戏剧性研究
发布时间：2018-07-22 10:21
【摘要】：阿尔弗雷德·施尼特盖是著名的俄罗斯现代作曲家。俄罗斯音乐学家赫洛波娃称施尼特盖于1976-77年所创作的复风格作品《第一大协奏曲》为“器乐戏剧”。本论文参照施尼特盖所隐含的戏剧观念,以戏剧理论中“戏剧的逻辑模式”为理论支撑,探究该作品之乐器(“角色”与“角色关系”)、风格化主题(“情境-事件”)、音乐语言运动(“动作”)、主题承载的乐器之对抗(“冲突”)、体裁与结构(“情境-具体时空环境”)五个层面的戏剧性特征,并探索该作品作为“器乐戏剧”的潜在可能性,进而解读施尼特盖更深层次的哲学观念和精神境界,以及在20世纪多元音乐文化语境中的艺术蕴涵。 全文共分四章,研究内容涉及戏剧与戏剧性的基本内容、施尼特盖的生存语境及戏剧观念、《第一大协奏曲》的创作语境以及音乐本体(器乐、风格化主题、音乐语言、体裁、结构等)的具体表现形式。第一章关注于戏剧(包含戏剧要素)与戏剧性的基本内涵；施尼特盖、《第一大协奏曲》的存在语境,以及对音乐要素与戏剧要素之对应作出解释；第二章以“角色遭遇事件”为核心观察点,阐释《第一大协奏曲》中乐器作为“角色”的塑造,与主题作为“事件”的象征；第三章以“冲突在动作中实现”为观察点,论述《第一大协奏曲》器乐“冲突”的构建过程与音乐语言运动的演变发展；第四章将作品的结构、体裁视作音乐中“音”的客观环境,来探究“情境”中“具体时空环境”的制约作用。最后的结论在前四章论述与分析基础上,总结概括《第一大协奏曲》音乐的逻辑进程、戏剧性特征,以及在20世纪现代语境中的多元表现。
[Abstract]:Alfred Schnitgai is a famous modern Russian composer. Russian musicologist Horopova described Schnitgai's complex style work, the first Concerto, in 1976-77 as instrumental Drama. Referring to the concept of drama implied by Snitgai, this thesis is supported by the theory of "the logical mode of drama" in drama theory. Explore the musical instrument of the work ("role" and "role relationship"), stylized theme ("situation-event"), musical language movement ("action"), the confrontation of musical instruments carried by the theme ("conflict"), genre and structure (" The dramatic features of the five levels of situation-specific spatio-temporal environment, It also explores the potential possibility of this work as "instrumental drama", and then interprets Schnitgai's deeper philosophical concept and spiritual realm, as well as the artistic implication in the multi-cultural context of music in the 20th century. The thesis is divided into four chapters. The research covers the basic content of drama and drama, the survival context and dramatic concept of Schnitegger, the creation context of the first Concerto and the music Noumenon (instrumental music, stylized theme, musical language, genre). The specific form of expression of a structure, etc. The first chapter focuses on the basic connotation of drama (including drama elements) and drama, the existential context of Snitgai, the first Concerto, and the explanation of the correspondence between musical elements and dramatic elements; The second chapter takes "the role encounter event" as the core observation point, explains the musical instrument as "the character" in "the first Concerto", and the theme as the "event" symbol, the third chapter takes "the conflict realizes in the action" as the observation point, the third chapter takes "the conflict realizes in the action" as the observation point, This paper discusses the construction process of the "conflict" of instrumental music and the evolution and development of the movement of musical language. Chapter four regards the structure and genre of the works as the objective environment of "sound" in music. To explore the "situation" in the "specific spatio-temporal environment" constraints. The last conclusion is based on the discussion and analysis of the first four chapters, and summarizes the logical process, dramatic features and multiple manifestations in the modern context of the 20th century.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J605
本文编号：2137097
[Abstract]:Alfred Schnitgai is a famous modern Russian composer. Russian musicologist Horopova described Schnitgai's complex style work, the first Concerto, in 1976-77 as instrumental Drama. Referring to the concept of drama implied by Snitgai, this thesis is supported by the theory of "the logical mode of drama" in drama theory. Explore the musical instrument of the work ("role" and "role relationship"), stylized theme ("situation-event"), musical language movement ("action"), the confrontation of musical instruments carried by the theme ("conflict"), genre and structure (" The dramatic features of the five levels of situation-specific spatio-temporal environment, It also explores the potential possibility of this work as "instrumental drama", and then interprets Schnitgai's deeper philosophical concept and spiritual realm, as well as the artistic implication in the multi-cultural context of music in the 20th century. The thesis is divided into four chapters. The research covers the basic content of drama and drama, the survival context and dramatic concept of Schnitegger, the creation context of the first Concerto and the music Noumenon (instrumental music, stylized theme, musical language, genre). The specific form of expression of a structure, etc. The first chapter focuses on the basic connotation of drama (including drama elements) and drama, the existential context of Snitgai, the first Concerto, and the explanation of the correspondence between musical elements and dramatic elements; The second chapter takes "the role encounter event" as the core observation point, explains the musical instrument as "the character" in "the first Concerto", and the theme as the "event" symbol, the third chapter takes "the conflict realizes in the action" as the observation point, the third chapter takes "the conflict realizes in the action" as the observation point, This paper discusses the construction process of the "conflict" of instrumental music and the evolution and development of the movement of musical language. Chapter four regards the structure and genre of the works as the objective environment of "sound" in music. To explore the "situation" in the "specific spatio-temporal environment" constraints. The last conclusion is based on the discussion and analysis of the first four chapters, and summarizes the logical process, dramatic features and multiple manifestations in the modern context of the 20th century.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J605
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