【摘要】：蒙特威爾第是歐洲著名的作曲家,他是連接文藝復(fù)興時(shí)期與巴洛克時(shí)期音樂風(fēng)格的橋梁。在所有的音樂體裁中,牧歌的創(chuàng)作橫亙了他的一生,最能體現(xiàn)出他完整的創(chuàng)作風(fēng)格演變,他中晚期的牧歌風(fēng)格更為現(xiàn)代化,尤其是第八卷牧歌集,在聲樂和器樂的設(shè)置上都獨(dú)具匠心,節(jié)奏運(yùn)用的更加隨心所欲,旋律上呈現(xiàn)出新穎的片段式。其中《坦克雷迪與克勞琳達(dá)之爭(zhēng)》這首牧歌更是以其特有的“激動(dòng)風(fēng)格”聞名于世,為作曲家無數(shù)優(yōu)秀的牧歌創(chuàng)作又添上了光輝的一筆。這部牧歌在美學(xué)上完美的呈現(xiàn)出蒙特威爾第“第二實(shí)踐”理論,以在“歌詞與音樂的關(guān)系”方面詮釋的更為出色。它借用了音樂修辭法中的各種技巧,結(jié)合當(dāng)時(shí)在巴洛克時(shí)期的情感論美學(xué)和理性主義思潮,使這部作品成為一部具有極高美學(xué)價(jià)值的精品。 全文分為：緒論,主要闡述論文選題的意義、研究方法和國(guó)內(nèi)外研究現(xiàn)狀；第一部分主要介紹了意大利牧歌的起源和發(fā)展歷程以及各時(shí)期的風(fēng)格特點(diǎn),并對(duì)蒙特威爾第的牧歌創(chuàng)作進(jìn)行概述；第二部分為本論文的重點(diǎn),對(duì)《坦克雷迪與克勞琳達(dá)之爭(zhēng)》這部作品的內(nèi)容、演出狀況以及本體分析進(jìn)行了細(xì)致的描述；第三部分探討了《坦克雷迪與克勞琳達(dá)之爭(zhēng)》這部作品中隱含的“第二實(shí)踐”思想以及蒙特威爾第的美學(xué)理論的形成依據(jù)。結(jié)語部分對(duì)全文主旨進(jìn)行了宏觀簡(jiǎn)明的綜述。
[Abstract]:Monteverdi is a famous European composer, he is the bridge between Renaissance and Baroque music style. Among all the musical genres, the creation of pastoral songs has lasted his life, which can best reflect the evolution of his complete writing style. His late and middle pastoral style is more modern, especially the eighth volume of the collection of pastoral songs. The setting of vocal music and instrumental music are original, rhythm is more arbitrary, melody presents a novel fragment. Among them, the contention between Tancredi and Clarinda is also famous for its unique "exciting style", which has added a glorious stroke to countless outstanding pastoral compositions of composers. The pastoral song is aesthetically perfect and presents Monteverdi's second practice theory in order to better interpret the relationship between lyrics and music. It borrows all kinds of techniques from musical rhetoric and combines the emotional aesthetics and rationalism of Baroque at that time to make this work a masterpiece with high aesthetic value. The full text is divided into: introduction, mainly expounds the significance of the topic of the thesis, research methods and domestic and foreign research status; The first part mainly introduces the origin and development of Italian pastoral songs, as well as the style characteristics of each period, and summarizes Monteverdi's pastoral creation. The second part is the emphases of this thesis, which describes the content, performance and ontology analysis of Tancredi and Crawlinda in detail. In the third part, the author discusses the thought of "second practice" and the basis of Monte Verdi's aesthetic theory. The conclusion part gives a brief summary of the whole text.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J832

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 趙海;巴洛克時(shí)期的“音樂修辭學(xué)”及其蘊(yùn)涵的美學(xué)理念[J];中央音樂學(xué)院學(xué)報(bào);1999年04期

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本文編號(hào)：2372259