20世紀(jì)俄羅斯宗教音樂(lè)創(chuàng)作之研究
發(fā)布時(shí)間：2019-05-23 04:08
【摘要】： 20世紀(jì)俄羅斯宗教音樂(lè)是其歷史的鼎盛時(shí)期。很多在世界音樂(lè)史上享有盛譽(yù)的俄羅斯作曲家們均創(chuàng)作了數(shù)目不等的宗教作品。他們?cè)谠擃I(lǐng)域積累了豐富的創(chuàng)作經(jīng)驗(yàn)、取得了豐碩的成果,并且把個(gè)人的宗教觀(guān)念融入到音樂(lè)的創(chuàng)作之中。這些經(jīng)驗(yàn)和成果不僅具有重要的音樂(lè)史學(xué)價(jià)值,而且還對(duì)俄羅斯音樂(lè)美學(xué)、心理學(xué)的發(fā)展以及其它領(lǐng)域的創(chuàng)作產(chǎn)生了深遠(yuǎn)的影響。同時(shí),宗教音樂(lè)創(chuàng)作的空前繁榮從一個(gè)側(cè)面反映了俄羅斯現(xiàn)代社會(huì)的發(fā)展?fàn)顩r,因此,通過(guò)對(duì)宗教音樂(lè)的研究可以深化對(duì)俄羅斯歷史、哲學(xué)、藝術(shù)等精神文化領(lǐng)域的認(rèn)知。 本論文從宗教觀(guān)念和音樂(lè)結(jié)構(gòu)的角度切入,通過(guò)對(duì)俄羅斯宗教文化傳統(tǒng)的溯源與20世紀(jì)宗教音樂(lè)文本的分析,力求發(fā)現(xiàn)俄羅斯民族自我意識(shí)的特征,進(jìn)而完成對(duì)20世紀(jì)俄羅斯宗教音樂(lè)的一次并非全面的探索。在研究思路上,筆者把俄羅斯的宗教歷史、哲學(xué)、文化等方面與作曲技術(shù)放在同等重要的地位看待,強(qiáng)調(diào)觀(guān)念對(duì)于作曲技法的主導(dǎo)作用。 本論文由緒論、正文和結(jié)語(yǔ)三部分組成,正文在結(jié)構(gòu)上分為上、下兩篇。此外,筆者將俄羅斯教堂禮拜儀式的古斯拉夫語(yǔ)歌詞翻澤成漢語(yǔ),并作了簡(jiǎn)要分析,載于附錄 正文的上篇包括兩章,第一章對(duì)俄羅斯民族宗教觀(guān)念和傳統(tǒng)宗教音樂(lè)進(jìn)行了歷史回顧,著重探討了在歷史、政治、文化發(fā)展等背景下,末世論思想和彌賽亞意識(shí)的形成與發(fā)展及其對(duì)音樂(lè)創(chuàng)作技法的影響；第二章較為系統(tǒng)地梳理了20世紀(jì)俄羅斯宗教音樂(lè)的發(fā)展?fàn)顩r,其中就歷史分期、發(fā)展趨勢(shì)及影響音樂(lè)創(chuàng)作的主要宗教思想作了概括性的總結(jié)。 下篇包括五章,即正文的第三至七章。筆者從20世紀(jì)最具代表性的俄羅斯宗教音樂(lè)作品中選取了三部作為研究對(duì)象,將各種分析方法作為具體的分析手段,對(duì)音樂(lè)作品的結(jié)構(gòu)形態(tài)和結(jié)構(gòu)過(guò)程進(jìn)行全面而細(xì)致的探析,以期管窺個(gè)人宗教觀(guān)念與音樂(lè)形式化過(guò)程的關(guān)系。第六章從多元化主題、復(fù)調(diào)技法和管弦樂(lè)技法三個(gè)維度對(duì)(泛)宗教音樂(lè)創(chuàng)作的技法發(fā)展進(jìn)行觀(guān)照。第七章揭示信仰危機(jī)與“宗教熱”如影隨形的現(xiàn)象,探討宗教信仰與民族凝聚力的關(guān)系問(wèn)題,并對(duì)俄羅斯宗教音樂(lè)創(chuàng)作的藝術(shù)特性進(jìn)行了概括提煉與總結(jié)。 一言以蔽之,歷經(jīng)千年積淀,末世論思想和彌賽亞意識(shí)已化成俄羅斯民族集體無(wú)意識(shí)的重要部分,它也是20世紀(jì)俄羅斯宗教音樂(lè)的精神內(nèi)核。反之,作曲家們通過(guò)觀(guān)念與音樂(lè)相結(jié)合的方式,使俄羅斯的宗教文化不斷地傳承與發(fā)展,從某種角度講,音樂(lè)創(chuàng)作的繁榮推動(dòng)了宗教歷史的進(jìn)程。
[Abstract]:Russian religious music in the 20 th century was the heyday of its history. Many Russian composers who have a high reputation in the history of world music have created a variety of religious works. They have accumulated rich creative experience in this field, achieved fruitful results, and integrated personal religious ideas into the creation of music. These experiences and achievements not only have important music historiography value, but also have a profound impact on the development of Russian music aesthetics, psychology and other fields. At the same time, the unprecedented prosperity of religious music creation reflects the development of modern Russian society from one side. Therefore, through the study of religious music, we can deepen the understanding of Russian history, philosophy, art and other spiritual and cultural fields. From the point of view of religious concept and music structure, this paper tries to find out the characteristics of Russian national self-consciousness by tracing back to the origin of Russian religious cultural tradition and analyzing the religious music text of the 20th century. And then completed a 20 th century Russian religious music is not a comprehensive exploration. In terms of research ideas, the author puts Russian religious history, philosophy, culture and other aspects in the same important position as composition technology, and emphasizes the leading role of ideas in composition techniques. This paper consists of three parts: introduction, main body and conclusion. The main body is divided into two parts in structure. In addition, the author converts the ancient Slavic lyrics of the Russian church worship ceremony into Chinese, and makes a brief analysis, which is contained in the first part of the appendix, which consists of two chapters. The first chapter reviews the history of Russian ethnic and religious concepts and traditional religious music, focusing on the background of historical, political and cultural development. The formation and development of eschatological thought and Messiah consciousness and their influence on music creation techniques; The second chapter systematically combs the development of Russian religious music in the 20th century, in which it makes a general summary of the historical stages, the development trend and the main religious thoughts that affect the music creation. The second part consists of five chapters, that is, the third to seventh chapters of the text. The author selects three of the most representative Russian religious music works in the 20th century as the research object, takes various analysis methods as the concrete analysis means, and makes a comprehensive and detailed analysis of the structure form and structure process of the music works. In order to see the relationship between personal religious ideas and the formalization process of music. In the sixth chapter, the development of techniques in (pan) religious music creation is observed from three dimensions: pluralistic theme, polyphonic technique and orchestra technique. The seventh chapter reveals the phenomenon of belief crisis and "religious fever", discusses the relationship between religious belief and national cohesion, and summarizes the artistic characteristics of Russian religious music creation. In a word, after thousands of years of accumulation, eschatological thought and Messiah consciousness have become an important part of the collective unconscious of the Russian nation, which is also the spiritual core of Russian religious music in the 20th century. On the contrary, composers through the combination of ideas and music, so that Russian religious culture continues to inherit and develop, from a certain point of view, the prosperity of music creation has promoted the process of religious history.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類(lèi)號(hào)】：J609.512
本文編號(hào)：2483587
[Abstract]:Russian religious music in the 20 th century was the heyday of its history. Many Russian composers who have a high reputation in the history of world music have created a variety of religious works. They have accumulated rich creative experience in this field, achieved fruitful results, and integrated personal religious ideas into the creation of music. These experiences and achievements not only have important music historiography value, but also have a profound impact on the development of Russian music aesthetics, psychology and other fields. At the same time, the unprecedented prosperity of religious music creation reflects the development of modern Russian society from one side. Therefore, through the study of religious music, we can deepen the understanding of Russian history, philosophy, art and other spiritual and cultural fields. From the point of view of religious concept and music structure, this paper tries to find out the characteristics of Russian national self-consciousness by tracing back to the origin of Russian religious cultural tradition and analyzing the religious music text of the 20th century. And then completed a 20 th century Russian religious music is not a comprehensive exploration. In terms of research ideas, the author puts Russian religious history, philosophy, culture and other aspects in the same important position as composition technology, and emphasizes the leading role of ideas in composition techniques. This paper consists of three parts: introduction, main body and conclusion. The main body is divided into two parts in structure. In addition, the author converts the ancient Slavic lyrics of the Russian church worship ceremony into Chinese, and makes a brief analysis, which is contained in the first part of the appendix, which consists of two chapters. The first chapter reviews the history of Russian ethnic and religious concepts and traditional religious music, focusing on the background of historical, political and cultural development. The formation and development of eschatological thought and Messiah consciousness and their influence on music creation techniques; The second chapter systematically combs the development of Russian religious music in the 20th century, in which it makes a general summary of the historical stages, the development trend and the main religious thoughts that affect the music creation. The second part consists of five chapters, that is, the third to seventh chapters of the text. The author selects three of the most representative Russian religious music works in the 20th century as the research object, takes various analysis methods as the concrete analysis means, and makes a comprehensive and detailed analysis of the structure form and structure process of the music works. In order to see the relationship between personal religious ideas and the formalization process of music. In the sixth chapter, the development of techniques in (pan) religious music creation is observed from three dimensions: pluralistic theme, polyphonic technique and orchestra technique. The seventh chapter reveals the phenomenon of belief crisis and "religious fever", discusses the relationship between religious belief and national cohesion, and summarizes the artistic characteristics of Russian religious music creation. In a word, after thousands of years of accumulation, eschatological thought and Messiah consciousness have become an important part of the collective unconscious of the Russian nation, which is also the spiritual core of Russian religious music in the 20th century. On the contrary, composers through the combination of ideas and music, so that Russian religious culture continues to inherit and develop, from a certain point of view, the prosperity of music creation has promoted the process of religious history.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類(lèi)號(hào)】：J609.512
【引證文獻(xiàn)】
相關(guān)博士學(xué)位論文 前2條
1 許琛;阿沃·帕特鐘鳴音樂(lè)研究[D];上海音樂(lè)學(xué)院;2011年
2 鄭艷;結(jié)構(gòu)主義視域下的序列主義音樂(lè)研究[D];上海音樂(lè)學(xué)院;2012年
，本文編號(hào)：2483587
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