【摘要】：阿爾弗雷德·施尼特蓋是著名的俄羅斯現(xiàn)代作曲家。俄羅斯音樂學家赫洛波娃稱施尼特蓋于1976-77年所創(chuàng)作的復風格作品《第一大協(xié)奏曲》為“器樂戲劇”。本論文參照施尼特蓋所隱含的戲劇觀念,以戲劇理論中“戲劇的邏輯模式”為理論支撐,探究該作品之樂器(“角色”與“角色關系”)、風格化主題(“情境-事件”)、音樂語言運動(“動作”)、主題承載的樂器之對抗(“沖突”)、體裁與結構(“情境-具體時空環(huán)境”)五個層面的戲劇性特征,并探索該作品作為“器樂戲劇”的潛在可能性,進而解讀施尼特蓋更深層次的哲學觀念和精神境界,以及在20世紀多元音樂文化語境中的藝術蘊涵。 全文共分四章,研究內(nèi)容涉及戲劇與戲劇性的基本內(nèi)容、施尼特蓋的生存語境及戲劇觀念、《第一大協(xié)奏曲》的創(chuàng)作語境以及音樂本體(器樂、風格化主題、音樂語言、體裁、結構等)的具體表現(xiàn)形式。第一章關注于戲劇(包含戲劇要素)與戲劇性的基本內(nèi)涵；施尼特蓋、《第一大協(xié)奏曲》的存在語境,以及對音樂要素與戲劇要素之對應作出解釋；第二章以“角色遭遇事件”為核心觀察點,闡釋《第一大協(xié)奏曲》中樂器作為“角色”的塑造,與主題作為“事件”的象征；第三章以“沖突在動作中實現(xiàn)”為觀察點,論述《第一大協(xié)奏曲》器樂“沖突”的構建過程與音樂語言運動的演變發(fā)展；第四章將作品的結構、體裁視作音樂中“音”的客觀環(huán)境,來探究“情境”中“具體時空環(huán)境”的制約作用。最后的結論在前四章論述與分析基礎上,總結概括《第一大協(xié)奏曲》音樂的邏輯進程、戲劇性特征,以及在20世紀現(xiàn)代語境中的多元表現(xiàn)。
[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.
【學位授予單位】：上海音樂學院
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J605

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