【摘要】：阿爾弗雷德·施尼特蓋是著名的俄羅斯現(xiàn)代作曲家。俄羅斯音樂(lè)學(xué)家赫洛波娃稱(chēng)施尼特蓋于1976-77年所創(chuàng)作的復(fù)風(fēng)格作品《第一大協(xié)奏曲》為“器樂(lè)戲劇”。本論文參照施尼特蓋所隱含的戲劇觀念,以戲劇理論中“戲劇的邏輯模式”為理論支撐,探究該作品之樂(lè)器(“角色”與“角色關(guān)系”)、風(fēng)格化主題(“情境-事件”)、音樂(lè)語(yǔ)言運(yùn)動(dòng)(“動(dòng)作”)、主題承載的樂(lè)器之對(duì)抗(“沖突”)、體裁與結(jié)構(gòu)(“情境-具體時(shí)空環(huán)境”)五個(gè)層面的戲劇性特征,并探索該作品作為“器樂(lè)戲劇”的潛在可能性,進(jìn)而解讀施尼特蓋更深層次的哲學(xué)觀念和精神境界,以及在20世紀(jì)多元音樂(lè)文化語(yǔ)境中的藝術(shù)蘊(yùn)涵。 全文共分四章,研究?jī)?nèi)容涉及戲劇與戲劇性的基本內(nèi)容、施尼特蓋的生存語(yǔ)境及戲劇觀念、《第一大協(xié)奏曲》的創(chuàng)作語(yǔ)境以及音樂(lè)本體(器樂(lè)、風(fēng)格化主題、音樂(lè)語(yǔ)言、體裁、結(jié)構(gòu)等)的具體表現(xiàn)形式。第一章關(guān)注于戲劇(包含戲劇要素)與戲劇性的基本內(nèi)涵；施尼特蓋、《第一大協(xié)奏曲》的存在語(yǔ)境,以及對(duì)音樂(lè)要素與戲劇要素之對(duì)應(yīng)作出解釋?zhuān)坏诙乱浴敖巧庥鍪录睘楹诵挠^察點(diǎn),闡釋《第一大協(xié)奏曲》中樂(lè)器作為“角色”的塑造,與主題作為“事件”的象征；第三章以“沖突在動(dòng)作中實(shí)現(xiàn)”為觀察點(diǎn),論述《第一大協(xié)奏曲》器樂(lè)“沖突”的構(gòu)建過(guò)程與音樂(lè)語(yǔ)言運(yùn)動(dòng)的演變發(fā)展；第四章將作品的結(jié)構(gòu)、體裁視作音樂(lè)中“音”的客觀環(huán)境,來(lái)探究“情境”中“具體時(shí)空環(huán)境”的制約作用。最后的結(jié)論在前四章論述與分析基礎(chǔ)上,總結(jié)概括《第一大協(xié)奏曲》音樂(lè)的邏輯進(jìn)程、戲劇性特征,以及在20世紀(jì)現(xiàn)代語(yǔ)境中的多元表現(xiàn)。
[Abstract]:Alfred Schnitgai is a famous modern Russian composer. Russian musicologist Horopova described Schnitgai's complex style work, the first Concerto, in 1976-77 as instrumental Drama. Referring to the concept of drama implied by Snitgai, this thesis is supported by the theory of "the logical mode of drama" in drama theory. Explore the musical instrument of the work ("role" and "role relationship"), stylized theme ("situation-event"), musical language movement ("action"), the confrontation of musical instruments carried by the theme ("conflict"), genre and structure (" The dramatic features of the five levels of situation-specific spatio-temporal environment, It also explores the potential possibility of this work as "instrumental drama", and then interprets Schnitgai's deeper philosophical concept and spiritual realm, as well as the artistic implication in the multi-cultural context of music in the 20th century. The thesis is divided into four chapters. The research covers the basic content of drama and drama, the survival context and dramatic concept of Schnitegger, the creation context of the first Concerto and the music Noumenon (instrumental music, stylized theme, musical language, genre). The specific form of expression of a structure, etc. The first chapter focuses on the basic connotation of drama (including drama elements) and drama, the existential context of Snitgai, the first Concerto, and the explanation of the correspondence between musical elements and dramatic elements; The second chapter takes "the role encounter event" as the core observation point, explains the musical instrument as "the character" in "the first Concerto", and the theme as the "event" symbol, the third chapter takes "the conflict realizes in the action" as the observation point, the third chapter takes "the conflict realizes in the action" as the observation point, This paper discusses the construction process of the "conflict" of instrumental music and the evolution and development of the movement of musical language. Chapter four regards the structure and genre of the works as the objective environment of "sound" in music. To explore the "situation" in the "specific spatio-temporal environment" constraints. The last conclusion is based on the discussion and analysis of the first four chapters, and summarizes the logical process, dramatic features and multiple manifestations in the modern context of the 20th century.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J605

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