本文關(guān)鍵詞： 斯特拉文斯基 歌劇式清唱劇 《俄狄浦斯王》 新古典主義　出處：《中央音樂學(xué)院》2012年碩士論文　論文類型：學(xué)位論文

【摘要】：前蘇聯(lián)學(xué)者米哈伊爾·德魯斯金(Mikhail Druskin)認(rèn)為斯特拉文斯基一生的創(chuàng)作已足夠書寫一部“20世紀(jì)的個人音樂史”。這位美籍的俄羅斯作曲家以作品風(fēng)格的變幻多端聞名,曲風(fēng)轉(zhuǎn)折之犀利常讓世人震驚,他的創(chuàng)作史足以折射20世紀(jì)現(xiàn)代音樂發(fā)展的進(jìn)程。對斯特拉文斯基本人及其作品的研究一直是現(xiàn)代音樂研究中的熱點。本文論述的《俄狄浦斯王》是斯特拉文斯基于1927年在瑞士創(chuàng)作而在法國首演的歌劇式清唱劇,它的臺本由法國著名的先鋒戲劇倡導(dǎo)者,劇作家科克托(Cacteau)根據(jù)古希臘悲劇詩人索�？死账沟脑瓌∵M(jìn)行創(chuàng)作改編。作為一部在20世紀(jì)長演不衰的經(jīng)典作品,《俄狄浦斯王》的形式與內(nèi)容受到了諸多學(xué)者的關(guān)注和研究,其中不乏一些學(xué)術(shù)大家,如保羅·亨利·朗(Paul Henry Lang)、鮑里斯·阿薩菲耶夫(Boris Asafyev)、米哈伊爾·德魯斯金、理查德·德魯斯金(Richard Taruskin)等。筆者將綜合這些學(xué)者的研究論述,對《俄狄浦斯王》展開全面的音樂學(xué)研究,力圖在前人的研究基礎(chǔ)上,對斯特拉文斯基創(chuàng)作的這部作品有一個全景式的概覽和進(jìn)一步的學(xué)術(shù)探索。 本文共有五章,分別是： 第一章：《俄狄浦斯王》的創(chuàng)作背景。包括兩節(jié)第一節(jié)從整個20世紀(jì)的清唱劇創(chuàng)作大背景中定位屬于《俄狄浦斯王》的坐標(biāo)。第二節(jié),簡述斯特拉文斯基一生音樂戲劇創(chuàng)作的概況,以此觀察《俄狄浦斯王》在作曲家創(chuàng)作生涯中的階段性意義和價值。 第二章：《俄狄浦斯王》的劇本創(chuàng)作。主要是對比索�？死账购涂瓶送袆”镜漠愅�,對清唱劇音樂創(chuàng)作的臺本有一個清晰的結(jié)構(gòu)認(rèn)識。 第三章：清唱劇《俄狄浦斯王》的音樂本體分析。此章由兩節(jié)構(gòu)成,第一節(jié)談音樂的整體布局；第二節(jié)是微觀音樂分析,將逐步分析這部清唱劇的音樂成分,進(jìn)行細(xì)化的研究。 第四章：戲劇理想的音樂實現(xiàn)。這一章行文的主要目的是理清《俄狄浦斯王》中音樂與戲劇的關(guān)系,此章將目光主要鎖定在音樂與戲劇的場景研究中,對兩幕共六場的音樂戲劇場景進(jìn)行逐一分析,對其戲劇立意進(jìn)行較為深入的研究。 第五章：新古典主義范疇下的《俄狄浦斯王》,是從美學(xué)范疇的角度討論這部作品。第一節(jié)談新古典主義與斯特拉文斯基的創(chuàng)作；第二節(jié)將分別解說《俄狄浦斯王》新古典主義時期的音樂特征。
[Abstract]:Mikhail Druskinin, a former Soviet scholar. Stravinsky's life is considered to be enough to write a "History of personal Music in 20th century." the American Russian composer is known for his varied style. The sharp turn of the wind often shocked the world. His writing history is enough to reflect the development of modern music in 20th century. The study of Stravinsky himself and his works has always been a hot spot in the study of modern music. The "King of Oedipus" discussed in this paper is Straven. An opera oratorio written in Switzerland in 1927 and premiered in France. Its original stage by the French famous pioneer drama advocates. Playwright Cacteau. adapted from the original play of Sophocles, a tragic poet in ancient Greece. The form and content of "King Oedipus" has attracted the attention and research of many scholars, including some scholars, such as Paul Henley Langn. Boris Asafyevan, Boris Assafyev, Mikhail Druskin. Richard Druskin, Richard Taruskin. and so on. I'm going to synthesize these scholars' research and do a comprehensive musicology study of King Oedipus. On the basis of previous studies, the author tries to have a panoramic overview and further academic exploration of Stravinsky's work. There are five chapters in this paper, which are as follows: Chapter one: the background of the creation of King Oedipus. The first section includes two sections: from the background of oratorio creation in 20th century, the coordinate of King Oedipus belongs to the second section. This paper briefly describes the general situation of Stravinsky's musical drama creation in his life, and then observes the stage significance and value of King Oedipus in the composer's writing career. The second chapter: the script writing of King Oedipus, mainly compares the similarities and differences between Sophocles and Coquetto, and has a clear understanding of the stage of oratorio music creation. The third chapter: the music Noumenon analysis of oratorio King Oedipus. This chapter consists of two sections. The first section discusses the overall layout of music; The second section is the micro-music analysis, will gradually analyze the music composition of the oratorio, detailed research. Chapter 4th: the musical realization of drama ideal. The main purpose of this chapter is to clarify the relationship between music and drama in King Oedipus. This chapter focuses on the study of the scene of music and drama. This paper analyzes the two scenes and six scenes of musical drama one by one, and makes a deep study of their dramatic ideas. Chapter 5th: "King Oedipus" under the category of neoclassicism, is to discuss this work from the angle of aesthetic category. The first section discusses the creation of Neoclassicism and Stravinsky; The second section will explain the music characteristics of the Neoclassicism period.
【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J832

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