【摘要】：史蒂芬·桑德海姆(Stephen Sondheim) (1930年3月22日——)是美國著名的音樂劇作曲家,“概念音樂劇”的鼻祖,創(chuàng)作了大量的音樂劇作品,并且大多是一個人包攬詞曲創(chuàng)作。創(chuàng)作不僅在于音樂劇,還有影視配樂等�！蹲哌M(jìn)森林》是桑德海姆的代表作,其創(chuàng)作理念在80年代末的美國百老匯產(chǎn)生了深遠(yuǎn)影響,音樂創(chuàng)作也尤為出色。本文主要從歷史角度通過對20世紀(jì)后期美國百老匯劇場歷史背景的闡述,引出概念音樂劇產(chǎn)生的社會環(huán)境,從而對音樂劇《走進(jìn)森林》進(jìn)行音樂創(chuàng)作分析。國外對于桑德海姆和概念音樂劇的研究已經(jīng)展開,而國內(nèi)尚處于起步階段,這與他的歷史地位和概念音樂劇的創(chuàng)作發(fā)展產(chǎn)生的影響明顯不對等。當(dāng)前,我國的音樂劇仍是以劇本音樂劇為主,向觀眾講述一個完整的故事,總體是“開始、發(fā)展、高潮、結(jié)束”的順序。概念音樂劇則把創(chuàng)作者要表達(dá)的理念、主旨放到突出位置,事件的展開都是以此為中心,但是這并不等同于完全放棄故事情節(jié)的發(fā)展邏輯。桑德海姆被認(rèn)為是概念音樂劇的代名詞,他的創(chuàng)作理念超前,極具實(shí)驗(yàn)色彩,對我國尚處于起步階段的音樂劇創(chuàng)作有很大的啟發(fā)意義。音樂結(jié)構(gòu)的關(guān)聯(lián)性,如主題貫穿、發(fā)展的運(yùn)用是音樂劇的音樂創(chuàng)作需要學(xué)習(xí)的方面。作曲家以富有概念音樂劇表現(xiàn)特征的手段賦予了這部音樂劇動人的藝術(shù)色彩。本文主要從音樂創(chuàng)作的角度通過對音樂劇《走進(jìn)森林》(Into the Woods)的分析,試圖解析音樂與戲劇表現(xiàn)的種種聯(lián)系。本文共分為五章:第一章對桑德海姆的成長環(huán)境、與概念音樂劇的淵源和概念音樂劇的產(chǎn)生、發(fā)展歷史進(jìn)行簡要的介紹,對作者和作品產(chǎn)生的社會背景進(jìn)行簡要描述。第二章是本論文的重點(diǎn),通過對四個主題音高材料的分析、發(fā)展手法、與戲劇的關(guān)聯(lián)及應(yīng)用、主要唱段的匯總、主題之間的聯(lián)系來闡述音樂主題的貫穿。第三章通過對調(diào)性、唱段的分析與和聲在戲劇表現(xiàn)中的特征來表述音響效果的特點(diǎn),從橫向的旋律特點(diǎn)和縱向的和聲特征兩個維度進(jìn)行整體分析。第四章是曲式結(jié)構(gòu)的宏觀和微觀分析,將音樂段落進(jìn)行了分類歸納,運(yùn)用結(jié)構(gòu)力的理論對整部劇的音樂結(jié)構(gòu)的關(guān)聯(lián)性進(jìn)行了分析,總結(jié)出了整體結(jié)構(gòu)特征。第五章通過對配器的分析,介紹了 “簡約化”的樂隊編配形式與戲劇表現(xiàn)的關(guān)聯(lián),在第二節(jié)分析了人聲音色、演唱形式與戲劇表現(xiàn)的關(guān)系。
[Abstract]:Steven Sandheim (Stephen Sondheim) (March 22, 1930) is a famous American composer of musicals, the originator of Conceptual Musical. "into the Forest" is the masterpiece of Sandheim, whose creative idea had a profound influence on American Broadway in the late 1980s, and the creation of music was especially outstanding. From the historical point of view, this paper expounds the historical background of American Broadway theater in the late 20th century, and leads to the social environment in which the concept musical came into being, so as to make an analysis of musical music creation in the musical "into the Forest". The research on Sandheim and concept musical has been carried out in foreign countries, but it is still in the initial stage in China, which is different from his historical position and the influence of the creation and development of concept musical. At present, the musicals of our country are still based on screenplay musicals, telling a complete story to the audience, which is generally the sequence of "beginning, developing, upsurge and ending". Concept musicals give prominence to the ideas and gist the creators want to express, and the unfolding of events is centered on them, but this is not the same as giving up the logic of the development of the story altogether. Sandheim is regarded as the synonym of concept musical. His creative idea is advanced and has experimental color, which has great enlightening significance to the musical creation which is still in its infancy in our country. The relevance of musical structure, such as theme running through, the development of the use of musical music creation needs to learn. The composer endowed the musical with a moving artistic color by means of the expressive features of the concept musical. This paper tries to analyze the relationship between music and drama through the analysis of musical (Into the Woods) from the perspective of musical creation. This paper is divided into five chapters: the first chapter gives a brief introduction to the growing environment of Sandheim, the origin of the concept musical and the origin of the concept musical, the history of development, and the social background of the author and the production of the work. The second chapter is the focus of this paper, through the analysis of the four themes pitch materials, development techniques, the relevance and application of the drama, the collection of the main choreography, the relationship between the themes to elaborate the theme of music through. The third chapter describes the characteristics of sound effects through the analysis of tonality, choir and the characteristics of harmony in drama performance, from the horizontal melody characteristics and vertical harmony characteristics of the two dimensions to analyze the whole. The fourth chapter is the macro and micro analysis of the musical structure. The music paragraphs are classified and summarized. The relevance of the musical structure of the whole play is analyzed by using the theory of structural force, and the overall structural characteristics are summed up. The fifth chapter introduces the relationship between the form of band arrangement and the performance of drama through the analysis of orchestration. In the second section, it analyzes the relationship between human voice color, singing form and drama performance.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J617.2

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