合唱作品《海韻》與《長恨歌》之比較研究與歷史價值
發(fā)布時間：2018-11-15 20:40
【摘要】： 合唱藝術,這顆音樂文化史上璀璨的明珠,她歷史悠久,淵遠流長。在歐洲,可追溯到距今已近千年的中世紀宗教音樂。合唱音樂在我國的興起,雖然和歐洲相比,起步較晚,至今還只有一百年左右的歷史。但是,許多作曲家對合唱曲創(chuàng)作的大膽探索,使合唱藝術取得了迅速的發(fā)展�！逗ｍ崱泛汀堕L恨歌》就是兩部經典的合唱作品。 《海韻》是趙元任譜寫的上百首歌曲中唯一的大型合唱作品。它描寫了一位向往自由的少女,不滿足于家中的平庸生活,在海灘上徘徊歌舞,最終被波濤吞沒的情景。暗示出“五·四”時期要求個性自由、解放的婦女,最終因不能擺脫封建禮教的束縛而歸于失敗。 《長恨歌》是黃自根據韋瀚章詞譜寫的我國歷史上第一部清唱劇。清唱劇《長恨歌》的歌詞就是詞作家韋瀚章根據白居易的同名詩和洪f的傳奇《長生殿》寫出的。全劇共分10部分,每部分的標題都來自于白居易原作的詩句:(一)仙樂風飄處處聞、(二)七月七日長生殿、(三)漁陽鼙鼓動地來、(四)驚破霓裳羽衣舞、(五)六軍不發(fā)無奈何、(六)宛轉蛾眉馬前死、(七)雨夜聞鈴腸斷聲、(八)山在虛無縹緲間、(九)西宮南內多秋草、(十)此恨綿綿無絕期。黃自于1932年夏季開始創(chuàng)作這部清唱劇,在一年的時間里,他從中選譜了七個樂章,第四、第七和第九樂章未譜曲。但從他所完成的七個樂章的構思和主題思想的表達上,已基本完成了該作品所要表現(xiàn)的全部內容。 趙元任的《海韻》和黃自的《長恨歌》是我國19世紀20、30年代著名的合唱曲,它們都具有相當高的藝術和研究價值。 一、從題材上來說:兩部作品都是以悲劇性的結局而告終,表現(xiàn)出的是封建制度下婦女的悲劇。只是前者追求的是自由;后者追求的是愛情。 二、從人物形象上看:《海韻》中的每一段都由合唱代表的詩翁和旁觀者、女高音代表的少女、鋼琴代表的大海四個部分交替出現(xiàn)�！堕L恨歌》中,圍繞歷史事件的發(fā)展,成功塑造了四種人物形象:唐明皇、楊貴妃、宮女、軍隊(包括安祿山的叛軍和唐明皇的六軍)。 三、從合唱形式上看:《海韻》中運用了四部混聲合唱、男聲四部合唱、女聲合唱以及領唱加合唱等形式�！堕L恨歌》中運用了混聲四部合唱、男聲四部合唱、女聲三部合唱、女高音獨唱、男中音獨唱等形式。 本文通過對《海韻》和《長恨歌》的分析、比較研究來總結和歸納他們的音樂意圖和音樂語言的異同以及歷史價值。這兩部作品,當時就受到音樂界及廣大音樂愛好者的高度評價,就是在今天,也是我國近現(xiàn)代音樂創(chuàng)作中的藝術珍品,并且對之后合唱藝術的發(fā)展也起了推動的作用。
[Abstract]:Chorus art, this bright pearl in the history of music culture, she has a long history and a long history. In Europe, it dates back to medieval religious music nearly a thousand years ago. The rise of choral music in China, although compared with Europe, started relatively late, and has only a hundred years of history. However, the bold exploration of choral composition by many composers has made the chorus art develop rapidly. Haiyun and Eternal hate songs are two classic choral works. Haiyun is the only large chorus of hundreds of songs written by Zhao Yuanren. It depicts a young girl who yearns for freedom, who is not satisfied with the mediocre life of her family, hovers and dances on the beach and is eventually swallowed up by the waves. It suggests that the women who demanded freedom of personality during the May 4th period failed because they could not get rid of the bondage of feudal ethics. Everlasting hate Song is the first oratorio written by Huang Zi according to Wei Hanzhang's ci spectrum. The lyrics of oratorio everlasting hate were written by ci writer Wei Hanzhang on the basis of Bai Juyi's poem of the same name and the legend of Hong Fong. The whole play is divided into 10 parts. The titles of each part are drawn from the verse of Bai Juyi's original work: (1) the breeze passes through the place and the fairy music can be heard in all directions; (2) on the night of July 7 of that year, we met each other in the Hall of long Life, (3) suddenly the Yuyang War Drum sounded the earth-shaking palace, and (4) the dance of neon clothes and down clothes. (5) the six armies of Longwu Army and Yu Lin Army had no choice but to leave, (6) the lovelorn beauty finally lost her life before the horse, (7) the bell broke in the rainy night, (8) the mountains were in the void, (9) the Xingqing Palace and the Manlu Palace were depressed and the autumn grass was long, (10) only this death and death was never finished. Huang began writing the oratorio in the summer of 1932. In one year, he selected seven pieces of music, fourth, seventh and ninth. But from the conception of seven movements and the expression of the theme, he has basically completed the whole content of the work. Zhao Yuanren's "Hai Yun" and Huang Zi's "Song of Eternal resentment" are famous chorus songs in 1920s and 1930s in China. They are of high artistic and research value. First, from the subject matter: the two works ended in a tragic end, showing the tragedy of women under the feudal system. Only the former pursue freedom; the latter pursue love. Second, in terms of character image, each section of "Haiyun" is alternately composed of four parts, namely, the poet and the bystander represented by the chorus, the girl represented by the soprano, and the sea represented by the piano. In the Song of Eternal resentment, the development of historical events revolves around the development of historical events. Four successful characters were created: Tang Ming Huang, Yang Guifei, Gong Nu, the army (including the rebels in an Lushan and the six armies of Tang Ming Huang). (3) in the form of chorus: in Haiyun, there are four mixed chorus, four male choral, four female choral and leading chorus, etc. In the Song of Eternal resentment, there are four mixed chorus, four male chorus and three female chorus. Soprano solos, baritone solos, etc. Through the analysis of "Haiyun" and "Song of Eternal resentment", this paper makes a comparative study to summarize and summarize their musical intention, similarities and differences in musical language and historical value. These two works were highly appraised by the music circles and music lovers at that time. They are also the art treasures in the modern music creation of our country, and played an important role in promoting the development of chorus art.
【學位授予單位】：山西大學
【學位級別】：碩士
【學位授予年份】：2009
【分類號】：J616
[Abstract]:Chorus art, this bright pearl in the history of music culture, she has a long history and a long history. In Europe, it dates back to medieval religious music nearly a thousand years ago. The rise of choral music in China, although compared with Europe, started relatively late, and has only a hundred years of history. However, the bold exploration of choral composition by many composers has made the chorus art develop rapidly. Haiyun and Eternal hate songs are two classic choral works. Haiyun is the only large chorus of hundreds of songs written by Zhao Yuanren. It depicts a young girl who yearns for freedom, who is not satisfied with the mediocre life of her family, hovers and dances on the beach and is eventually swallowed up by the waves. It suggests that the women who demanded freedom of personality during the May 4th period failed because they could not get rid of the bondage of feudal ethics. Everlasting hate Song is the first oratorio written by Huang Zi according to Wei Hanzhang's ci spectrum. The lyrics of oratorio everlasting hate were written by ci writer Wei Hanzhang on the basis of Bai Juyi's poem of the same name and the legend of Hong Fong. The whole play is divided into 10 parts. The titles of each part are drawn from the verse of Bai Juyi's original work: (1) the breeze passes through the place and the fairy music can be heard in all directions; (2) on the night of July 7 of that year, we met each other in the Hall of long Life, (3) suddenly the Yuyang War Drum sounded the earth-shaking palace, and (4) the dance of neon clothes and down clothes. (5) the six armies of Longwu Army and Yu Lin Army had no choice but to leave, (6) the lovelorn beauty finally lost her life before the horse, (7) the bell broke in the rainy night, (8) the mountains were in the void, (9) the Xingqing Palace and the Manlu Palace were depressed and the autumn grass was long, (10) only this death and death was never finished. Huang began writing the oratorio in the summer of 1932. In one year, he selected seven pieces of music, fourth, seventh and ninth. But from the conception of seven movements and the expression of the theme, he has basically completed the whole content of the work. Zhao Yuanren's "Hai Yun" and Huang Zi's "Song of Eternal resentment" are famous chorus songs in 1920s and 1930s in China. They are of high artistic and research value. First, from the subject matter: the two works ended in a tragic end, showing the tragedy of women under the feudal system. Only the former pursue freedom; the latter pursue love. Second, in terms of character image, each section of "Haiyun" is alternately composed of four parts, namely, the poet and the bystander represented by the chorus, the girl represented by the soprano, and the sea represented by the piano. In the Song of Eternal resentment, the development of historical events revolves around the development of historical events. Four successful characters were created: Tang Ming Huang, Yang Guifei, Gong Nu, the army (including the rebels in an Lushan and the six armies of Tang Ming Huang). (3) in the form of chorus: in Haiyun, there are four mixed chorus, four male choral, four female choral and leading chorus, etc. In the Song of Eternal resentment, there are four mixed chorus, four male chorus and three female chorus. Soprano solos, baritone solos, etc. Through the analysis of "Haiyun" and "Song of Eternal resentment", this paper makes a comparative study to summarize and summarize their musical intention, similarities and differences in musical language and historical value. These two works were highly appraised by the music circles and music lovers at that time. They are also the art treasures in the modern music creation of our country, and played an important role in promoting the development of chorus art.
【學位授予單位】：山西大學
【學位級別】：碩士
【學位授予年份】：2009
【分類號】：J616
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