本文選題：牧歌 + 文藝復興��； 參考：《上海音樂學院》2013年博士論文

【摘要】：文藝復興屬歐洲音樂輝煌期之一,此期因聲樂創(chuàng)作之技術精湛、多姿多彩而獲“聲樂復調黃金期”的美譽。其中,意大利牧歌是最重要、影響最大的俗樂體裁,作為一種多聲詩樂體裁,它力求以音樂去最大限度表現詩歌的內容、意象、情感等,故促使作曲家充分挖掘新、舊音樂技法,牧歌成為當時許多音樂創(chuàng)作革新的試驗田,大多數為詩歌配樂的手法在16世紀意大利牧歌中確立。該體裁影響遍及當時歐洲,很大程度上集中體現出文藝復興盛期的音樂發(fā)展軌跡,所以,了解其產生及風格演變,具有重要的學術價值及現實意義。 對文藝復興音樂研究在國外較為深入和廣泛,但國內“對這個領域的研究一直滯后,直到近十年來才開始真正的起步”(于潤洋先生語),而對意大利牧歌的產生及詩義音樂表現手法流變的專門探討更是尚未發(fā)現。本文在廣泛研讀相關文獻(尤其是外文)的基礎上,通過對代表性牧歌作曲家的代表作作分析——主要集中體現于配樂對詞義表現手法的探究及對牧歌曲式的具體解構上。同時,力求結合聆聽一些代表作的實際音響以驗證課題探討的結論。通過分析、綜合的方法,本文將16世紀意大利牧歌的產生歸為外來技法(法-佛蘭德樂派)、本土及外來體裁(狂歡節(jié)歌、弗羅托拉、尚松、經文歌)、意大利詩歌三者聯姻所結出的果實,其主要風格發(fā)展沿體裁初步形成、風格成熟、風格混合、風格多元的脈絡進行,其中,繪詞法為該體裁一本質屬性,尤其在第二、四種風格中達登峰造極,圍繞這一理念,作曲家無所不用其極,其中包括聲部進行、織體、和聲等方面的相應表現。 牧歌的曲式于中外尚未發(fā)現對其所作分析,故本文將之作為探討重點。筆者通過對大量樂譜作分析后,選各期三首代表作加以詳析,得出“基于變體-分段結構基礎上,結合詩歌選擇差異,配樂曲式日趨自由”此基本論點,其結構還蘊含了之后若干古典固定曲式之萌芽,這同時也印證了曲式作為牧歌“以樂繪詩”體裁屬性之重要一環(huán)。16世紀意大利牧歌影響深遠,主要體現于音樂技法的傳播、音樂表演形式的改革,從而為后續(xù)體裁誕生、巴洛克音樂風格形成創(chuàng)造了條件,總之,16世紀牧歌使意大利首次真正成為歐洲音樂中心,為意大利日后音樂繁榮進而影響歐洲音樂二百年奠定了堅實的基礎。了解其產生及風格流變,不僅可認識該體裁本身,同時更有助于我們探究歐洲文藝復興音樂的審美及表現。
[Abstract]:Renaissance is one of the brilliant periods of European music, this period is known as "Golden period of vocal polyphony" because of its exquisite technique and variety of vocal music creation. Among them, Italian pastoral music is the most important and most influential genre of popular music. As a genre of multi-tone poetry and music, it tries to maximize the performance of poetry content, image, emotion and so on with music, so it urges the composer to fully excavate the new style. The old musical techniques and pastoral songs became the experimental fields of many music creation innovations at that time, most of which were established in Italian pastoral songs in the 16th century. The influence of this genre was widespread in Europe at that time, which to a large extent reflected the development track of music in the prosperous period of the Renaissance. Therefore, it is of great academic value and practical significance to understand its emergence and style evolution. The study of Renaissance music is more thorough and extensive in foreign countries, but domestic "research in this field has been lagging behind." It was not until the last decade that the real start "(Mr. Yu Runyang said), and the creation of Italian pastoral songs and the evolution of the poetic and musical expression of the special discussion has not been found. On the basis of extensive reading of relevant documents (especially in foreign languages), this paper analyzes the representative works of the composer of pastoral songs, which are mainly embodied in the music's exploration of the expressive techniques of word meaning and the concrete deconstruction of pastoral songs. At the same time, try to listen to some representative of the actual sound to verify the conclusion of the subject. By analyzing and synthesizing methods, this paper classifies the generation of Italian pastoral songs in the 16th century as foreign techniques (Franco-Flemish), native and foreign genres (Mardi Gras, Tora, Shansong, etc.) The fruit of the marriage of scripture and Italian poetry, the main style of which develops along the context of the initial formation of the genre, the maturity of the style, the mixing of styles, and the multiplicity of styles. Among them, pictorial morphology is an essential attribute of the genre, especially in the second. Around this concept, composers have no choice but their poles, including the corresponding performance of voice, texture, harmony and so on. The form of pastoral songs has not been found in the analysis of it in China and abroad, so this paper focuses on it. After analyzing a large number of music scores, the author chooses three masterpieces of each period to analyze in detail, and draws the basic argument that "based on the variable-segmental structure, combining with the differences in the choice of poetry, the score forms are becoming freer and freer". Its structure also contains the germination of a number of classical fixed forms, which also confirm the profound influence of music as an important part of the genre attribute of "painting poem with music" in the 16th century, which is mainly reflected in the spread of musical techniques. The reform of the form of musical performance created the conditions for the birth of subsequent genres and the formation of Baroque musical styles. In short, pastoral songs in the 16th century made Italy for the first time truly a European music center. It laid a solid foundation for the future prosperity of Italian music and the influence of European music for two hundred years. Understanding its emergence and style can not only understand the genre itself, but also help us to explore the aesthetic and performance of European Renaissance music.
【學位授予單位】：上海音樂學院
【學位級別】：博士
【學位授予年份】：2013
【分類號】：J609.546

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本文編號：1954481