斯特拉文斯基歌剧式清唱剧《俄狄浦斯王》研究

发布时间：2018-02-04 13:40

本文关键词： 斯特拉文斯基歌剧式清唱剧《俄狄浦斯王》新古典主义　出处：《中央音乐学院》2012年硕士论文　论文类型：学位论文

【摘要】：前苏联学者米哈伊尔·德鲁斯金(Mikhail Druskin)认为斯特拉文斯基一生的创作已足够书写一部“20世纪的个人音乐史”。这位美籍的俄罗斯作曲家以作品风格的变幻多端闻名,曲风转折之犀利常让世人震惊,他的创作史足以折射20世纪现代音乐发展的进程。对斯特拉文斯基本人及其作品的研究一直是现代音乐研究中的热点。本文论述的《俄狄浦斯王》是斯特拉文斯基于1927年在瑞士创作而在法国首演的歌剧式清唱剧,它的台本由法国著名的先锋戏剧倡导者,剧作家科克托(Cacteau)根据古希腊悲剧诗人索福克勒斯的原剧进行创作改编。作为一部在20世纪长演不衰的经典作品,《俄狄浦斯王》的形式与内容受到了诸多学者的关注和研究,其中不乏一些学术大家,如保罗·亨利·朗(Paul Henry Lang)、鲍里斯·阿萨菲耶夫(Boris Asafyev)、米哈伊尔·德鲁斯金、理查德·德鲁斯金(Richard Taruskin)等。笔者将综合这些学者的研究论述,对《俄狄浦斯王》展开全面的音乐学研究,力图在前人的研究基础上,对斯特拉文斯基创作的这部作品有一个全景式的概览和进一步的学术探索。本文共有五章,分别是：第一章：《俄狄浦斯王》的创作背景。包括两节第一节从整个20世纪的清唱剧创作大背景中定位属于《俄狄浦斯王》的坐标。第二节,简述斯特拉文斯基一生音乐戏剧创作的概况,以此观察《俄狄浦斯王》在作曲家创作生涯中的阶段性意义和价值。第二章：《俄狄浦斯王》的剧本创作。主要是对比索福克勒斯和科克托剧本的异同,对清唱剧音乐创作的台本有一个清晰的结构认识。第三章：清唱剧《俄狄浦斯王》的音乐本体分析。此章由两节构成,第一节谈音乐的整体布局；第二节是微观音乐分析,将逐步分析这部清唱剧的音乐成分,进行细化的研究。第四章：戏剧理想的音乐实现。这一章行文的主要目的是理清《俄狄浦斯王》中音乐与戏剧的关系,此章将目光主要锁定在音乐与戏剧的场景研究中,对两幕共六场的音乐戏剧场景进行逐一分析,对其戏剧立意进行较为深入的研究。第五章：新古典主义范畴下的《俄狄浦斯王》,是从美学范畴的角度讨论这部作品。第一节谈新古典主义与斯特拉文斯基的创作；第二节将分别解说《俄狄浦斯王》新古典主义时期的音乐特征。
[Abstract]:Mikhail Druskinin, a former Soviet scholar. Stravinsky's life is considered to be enough to write a "History of personal Music in 20th century." the American Russian composer is known for his varied style. The sharp turn of the wind often shocked the world. His writing history is enough to reflect the development of modern music in 20th century. The study of Stravinsky himself and his works has always been a hot spot in the study of modern music. The "King of Oedipus" discussed in this paper is Straven. An opera oratorio written in Switzerland in 1927 and premiered in France. Its original stage by the French famous pioneer drama advocates. Playwright Cacteau. adapted from the original play of Sophocles, a tragic poet in ancient Greece. The form and content of "King Oedipus" has attracted the attention and research of many scholars, including some scholars, such as Paul Henley Langn. Boris Asafyevan, Boris Assafyev, Mikhail Druskin. Richard Druskin, Richard Taruskin. and so on. I'm going to synthesize these scholars' research and do a comprehensive musicology study of King Oedipus. On the basis of previous studies, the author tries to have a panoramic overview and further academic exploration of Stravinsky's work. There are five chapters in this paper, which are as follows: Chapter one: the background of the creation of King Oedipus. The first section includes two sections: from the background of oratorio creation in 20th century, the coordinate of King Oedipus belongs to the second section. This paper briefly describes the general situation of Stravinsky's musical drama creation in his life, and then observes the stage significance and value of King Oedipus in the composer's writing career. The second chapter: the script writing of King Oedipus, mainly compares the similarities and differences between Sophocles and Coquetto, and has a clear understanding of the stage of oratorio music creation. The third chapter: the music Noumenon analysis of oratorio King Oedipus. This chapter consists of two sections. The first section discusses the overall layout of music; The second section is the micro-music analysis, will gradually analyze the music composition of the oratorio, detailed research. Chapter 4th: the musical realization of drama ideal. The main purpose of this chapter is to clarify the relationship between music and drama in King Oedipus. This chapter focuses on the study of the scene of music and drama. This paper analyzes the two scenes and six scenes of musical drama one by one, and makes a deep study of their dramatic ideas. Chapter 5th: "King Oedipus" under the category of neoclassicism, is to discuss this work from the angle of aesthetic category. The first section discusses the creation of Neoclassicism and Stravinsky; The second section will explain the music characteristics of the Neoclassicism period.
【学位授予单位】：中央音乐学院
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J832

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