本文選題：聲樂套曲《最后的四首歌曲》 + 藝術(shù)特色�。� 參考：《首都師范大學(xué)》2006年碩士論文

【摘要】：德國作曲家理查·施特勞斯逝世前創(chuàng)作的聲樂套曲《最后四首歌曲》是他將聲樂與交響樂珠聯(lián)璧合的“最后的天鵝絕唱”。這部套曲不僅僅是一部聲樂作品，它是一部偉大的音詩，一部不朽的杰作。本文立足于這部套曲的譜例，一方面論析其音樂和語言方面的藝術(shù)特色；另一方面，結(jié)合美學(xué)知識，從這部作品的“優(yōu)美”、“崇高”兩方面論析這四首歌曲的審美特色。同時，本文還對理查·施特勞斯藝術(shù)歌曲的演唱風(fēng)格，，特殊貢獻(xiàn)提出見解。論析的基本思路是：以歌曲本性論和歌曲美學(xué)為指導(dǎo)，以藝術(shù)歌曲的主要成分：人聲、伴奏和詩歌為出發(fā)點，論析作曲家如何通過種種藝術(shù)手段和創(chuàng)作手法使音樂與詩歌情節(jié)的展開始終吻合，從而賦予了這部套曲獨(dú)特的藝術(shù)、審美特色乃至永恒的藝術(shù)魅力。本文對這部套曲的音樂、語言的藝術(shù)特色，歌曲的審美特色和作曲家的創(chuàng)作思想等方面進(jìn)行分析，以及對演唱者如何根據(jù)作曲家的一度創(chuàng)作進(jìn)行二度創(chuàng)作提出建議，不僅希望能為國內(nèi)藝術(shù)歌曲的傳統(tǒng)理論添磚加瓦，而且能有助于從更深層次上挖掘這部套曲的藝術(shù)和審美內(nèi)涵，有助于演唱者更好地進(jìn)行二度創(chuàng)作以及加深對這部作品的理解。 在寫作邏輯上筆者遵循兩條主要線索：一是從作曲家的一度創(chuàng)作到演唱者的二度創(chuàng)作，然后再回到一度創(chuàng)作；二是對這部作品的創(chuàng)作、演唱、欣賞、審美分析。這兩條線索在展開的過程中既相互交織又平行發(fā)展。本文分為五個部分：第一部分，交待作曲家的創(chuàng)作經(jīng)歷、創(chuàng)作心理以及這部套曲的創(chuàng)作背景；第二部分，主要是對套曲中四首歌曲的音樂、語言方面的藝術(shù)特色進(jìn)行分析，以及歌唱者如何根據(jù)作曲家的創(chuàng)意進(jìn)行二度創(chuàng)作提出見解；第三部分，主要從美學(xué)角度論析這部套曲的“優(yōu)美”、“崇高”的審美特色：第四部分，綜述理查·施特勞斯藝術(shù)歌曲的整體風(fēng)格；第五部分，從整體上分析作曲家對藝術(shù)歌曲創(chuàng)做出的特殊貢獻(xiàn)。
[Abstract]:Before the death of German composer Richard Strauss, he composed the last four songs of vocal music, which was the last swan song that he combined the vocal music with the symphony. This ensemble is not just a vocal work, it is a great musical poem, an immortal masterpiece. On the one hand, this paper analyzes the artistic characteristics of its music and language; on the other hand, it analyzes the aesthetic characteristics of the four songs from the two aspects of "elegance" and "sublime" in combination with aesthetic knowledge. At the same time, this article also to Richard Strauss art song singing style, special contribution to put forward the opinion. The basic ideas of this thesis are as follows: guided by the theory of song nature and song aesthetics, and based on the main components of art songs: human voice, accompaniment and poetry. This paper discusses how the composer, through various artistic means and creative techniques, makes music and poetry always coincide with the plot, thus endowing this suite with unique art, aesthetic characteristics and even eternal artistic charm. This paper analyzes the music of the ensemble, the artistic features of language, the aesthetic characteristics of songs and the creative thoughts of composers, and puts forward some suggestions on how to make second creation according to the composer's once creation. It is hoped that it can not only contribute to the traditional theory of domestic art songs, but also help to dig up the artistic and aesthetic connotations of the suite on a deeper level, and help the singers to create second times better and to deepen their understanding of the work. In writing logic, the author follows two main clues: one is from the composer's creation to the singer's second creation, and then to the former creation; the other is the creation, singing, appreciation and aesthetic analysis of this work. These two clues are intertwined and developed parallel to each other in the process of development. This article is divided into five parts: the first part is about the composer's creation experience, the creation psychology and the creation background of the suite, the second part is mainly to analyze the artistic characteristics of the music and language of the four songs in the suite. The third part, mainly from the aesthetic point of view to analyze the "beautiful", "noble" aesthetic characteristics: part four, This paper summarizes the overall style of Richard Strauss' art songs, and the fifth part analyzes the composers' special contribution to the creation of art songs.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：J605

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 許勇三,許靄春;里·施特勞斯《最后四首歌曲》的賞析[J];天津音樂學(xué)院學(xué)報;2003年04期

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