论《漂泊的荷兰人》之于瓦格纳歌剧创作的特殊意义
发布时间：2018-12-07 15:25
【摘要】： 十九世纪西方音乐史上,理查德·瓦格纳(Richard Wagener,1813—1883)和他的“乐剧”影响意义之重大毋庸多言。但在瓦格纳创作后期那些光华夺目的“乐剧”之出现前,他创作中期的几部作品也具有很强的审美价值,至今它们仍是歌剧舞台上常演的佳作。这些歌剧在类型上还不属于乐剧,但却记录着瓦格纳向着“乐剧”理想迈进的足迹,在瓦格纳音乐理想的实践中具有非常重要的意义。被归类于“浪漫主义歌剧”的《漂泊的荷兰人》是这些结合了多重风格的、具有转折性的作品中最有代表意义的一部歌剧。 本文以《漂泊的荷兰人》的脚本和音乐创作的分析为切入点,将该剧的创作与瓦格纳的生活经历、瓦格纳毕生的艺术理想和实践相联系,充分挖掘了这部歌剧对瓦格纳毕生歌剧创作和艺术追求的意义和价值。 全文分为四章。第一章综合介绍瓦格纳的生平、他的所有歌剧作品的创作情况和《漂泊的荷兰人》创作概况。瓦格纳的歌剧创作可分为三个时期,第一个时期是不成熟的模仿期,第二个时期既是创作风格的形成期和又是乐剧创作的准备期,其间有《漂泊的荷兰人》等四部歌剧作品。第三个时期是乐剧创作时期。第二章和第三章从脚本和音乐两方面分析这部歌剧的具体特点,是全文探讨其意义基石所在。其中第二章对脚本剧情进行简单介绍并结合创作背景、题材来源以及瓦格纳对歌剧艺术的理想分析脚本的性质和内涵。这部歌剧选择了神怪传说的素材并从中加入瓦格纳的自传性创作,这一选择并非偶然,而是代表了瓦格纳一个时期的艺术创作倾向。第三章是对歌剧重要的音乐片段的分析,包括对主导动机的分析、对序曲的分析和对主要唱段的分析,从而总结出该剧在音乐上的特点。这三者的分析是密切相关的,因为纵观这部歌剧整体的布局,主导动机作为全剧的核心,使音乐的整体性大大增强。序曲和主要唱段的分析将主要着重于这一点,同时,其和声调式的特点是分析的另一重点。第四章结合德国民族歌剧的特点和瓦格纳乐剧的艺术理念,揭示这部歌剧在瓦格纳歌剧中的特殊地位。一方面,瓦格纳汲取民族音乐文化的营养、深受民族歌剧传统的影响,因此《漂泊的荷兰人》具有浓厚的民族色彩,从题材的选择、对序曲的处理和民间音乐素材的运用等都体现出这一点,因此它是瓦格纳弘扬民族音乐文化尤其是民族歌剧艺术的一部代表作品。另一方面瓦格纳后期的乐剧所具有特点在这部歌剧中已经开始显现。在这部歌剧中,他摒弃了投观众所好的创作原则而直面内心的艺术理想,在短时间内的确遭到了冷遇,但经过时间的洗礼,人们发现瓦格纳真正的艺术追求从此迈出了第一步,瓦格纳核心的艺术理想——乐剧理想在这部歌剧中已经初露萌芽。
[Abstract]:In the history of western music in the nineteenth century, Richard Wagener,1813-1883 and his musical drama were of great significance. But before Wagner's brilliant music plays appeared in his later period, his works in the middle period also had a strong aesthetic value, and they are still good works on the opera stage. These operas are not music dramas in type, but they record Wagner's footsteps toward the ideal of "music drama", which is of great significance in the practice of Wagner's musical ideal. The wandering Dutchman, classified as "Romantic Opera", is one of the most representative of these multi-styled, transformational works. Based on the analysis of script and music creation of the wandering Dutchman, this paper links the creation of the play with Wagner's life experience, Wagner's lifelong artistic ideal and practice. It fully excavates the significance and value of this opera to Wagner's lifetime opera creation and artistic pursuit. The full text is divided into four chapters. The first chapter introduces the life of Wagner, the creation of all his operas and the creation of the wandering Dutchman. Wagner's opera creation can be divided into three periods, the first period is immature imitation period, the second period is not only the period of creation style but also the period of preparation for the creation of music opera, during which there are four operas, such as the wandering Dutchman. The third period is the period of music drama creation. The second and third chapters analyze the characteristics of the opera from the script and music aspects, which is the cornerstone of its significance. The second chapter briefly introduces the script plot and analyzes the nature and connotation of the script in combination with the background, the source of the subject matter and Wagner's ideal of opera art. Wagner's autobiographical creation is not an accidental choice, but a representative of Wagner's artistic tendency in a certain period. The third chapter is the analysis of the important music segment of opera, including the analysis of the dominant motivation, the analysis of the prelude and the analysis of the main choreography, so as to summarize the musical characteristics of the play. The analysis of the three is closely related, because throughout the overall layout of the opera, the dominant motivation as the core of the play, so that the integrity of the music greatly enhanced. The analysis of the prelude and the main choir will focus mainly on this, and the characteristics of its tone and tone are another emphasis of the analysis. The fourth chapter combines the characteristics of German national opera and the artistic concept of Wagner's opera to reveal the special position of this opera in Wagner's opera. On the one hand, Wagner absorbed the nutrition of national music and culture, and was deeply influenced by the tradition of national opera. The treatment of prelude and the use of folk music materials reflect this point, so it is a representative work of Wagner to carry forward the folk music culture, especially the national opera art. On the other hand, the characteristics of Wagner's later music play have already begun to appear in this opera. In this opera, he abandoned the good creative principles of the audience to face the artistic ideals of the heart, in a short period of time, but through the baptism of time, people found that Wagner's true artistic pursuit has taken the first step. Wagner's core artistic ideal-musical drama ideal in this opera has begun to appear.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：J832.2;J605
本文编号：2367395
[Abstract]:In the history of western music in the nineteenth century, Richard Wagener,1813-1883 and his musical drama were of great significance. But before Wagner's brilliant music plays appeared in his later period, his works in the middle period also had a strong aesthetic value, and they are still good works on the opera stage. These operas are not music dramas in type, but they record Wagner's footsteps toward the ideal of "music drama", which is of great significance in the practice of Wagner's musical ideal. The wandering Dutchman, classified as "Romantic Opera", is one of the most representative of these multi-styled, transformational works. Based on the analysis of script and music creation of the wandering Dutchman, this paper links the creation of the play with Wagner's life experience, Wagner's lifelong artistic ideal and practice. It fully excavates the significance and value of this opera to Wagner's lifetime opera creation and artistic pursuit. The full text is divided into four chapters. The first chapter introduces the life of Wagner, the creation of all his operas and the creation of the wandering Dutchman. Wagner's opera creation can be divided into three periods, the first period is immature imitation period, the second period is not only the period of creation style but also the period of preparation for the creation of music opera, during which there are four operas, such as the wandering Dutchman. The third period is the period of music drama creation. The second and third chapters analyze the characteristics of the opera from the script and music aspects, which is the cornerstone of its significance. The second chapter briefly introduces the script plot and analyzes the nature and connotation of the script in combination with the background, the source of the subject matter and Wagner's ideal of opera art. Wagner's autobiographical creation is not an accidental choice, but a representative of Wagner's artistic tendency in a certain period. The third chapter is the analysis of the important music segment of opera, including the analysis of the dominant motivation, the analysis of the prelude and the analysis of the main choreography, so as to summarize the musical characteristics of the play. The analysis of the three is closely related, because throughout the overall layout of the opera, the dominant motivation as the core of the play, so that the integrity of the music greatly enhanced. The analysis of the prelude and the main choir will focus mainly on this, and the characteristics of its tone and tone are another emphasis of the analysis. The fourth chapter combines the characteristics of German national opera and the artistic concept of Wagner's opera to reveal the special position of this opera in Wagner's opera. On the one hand, Wagner absorbed the nutrition of national music and culture, and was deeply influenced by the tradition of national opera. The treatment of prelude and the use of folk music materials reflect this point, so it is a representative work of Wagner to carry forward the folk music culture, especially the national opera art. On the other hand, the characteristics of Wagner's later music play have already begun to appear in this opera. In this opera, he abandoned the good creative principles of the audience to face the artistic ideals of the heart, in a short period of time, but through the baptism of time, people found that Wagner's true artistic pursuit has taken the first step. Wagner's core artistic ideal-musical drama ideal in this opera has begun to appear.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：J832.2;J605
【引证文献】
相关博士学位论文 前1条
1 康啸;瓦格纳歌剧《帕西法尔》研究[D];中国音乐学院;2012年
相关硕士学位论文 前2条
1 吕丽;瓦格纳戏剧观念在其歌剧序曲及乐剧前奏曲中的体现[D];上海音乐学院;2011年
2 吴会云;瓦格纳歌剧《唐豪瑟》中“唐豪瑟”人物形象分析[D];福建师范大学;2013年
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