李斯特《浮士德交響曲》研究
發(fā)布時間：2018-11-12 14:24
【摘要】：李斯特是浪漫主義時期最重要的標題音樂作曲家之一。他頻繁地采用詩歌作為音樂創(chuàng)作的靈感來源,強調(diào)音樂的詩意化,實現(xiàn)了交響音樂的革新。在李斯特的眾多標題音樂創(chuàng)作中,《浮士德交響曲》是十分重要和特殊的一部作品。這部作品創(chuàng)作于魏瑪時期,顯示出他對標題性交響音樂語言的探索與實踐成果。同時,"浮士德精神"又是李斯特音樂人生中的重要意象,作為一種符號象征與浪漫主義時期的整體文化語境形成呼應(yīng)。本文以《浮士德交響曲》為研究對象,以音樂史學為基本研究方法,結(jié)合作品分析等途徑,深度探究這部作品的音樂語言特征與標題性含義,并延伸討論浮士德精神在李斯特創(chuàng)作生涯乃至西方音樂文化中的特殊意義。本文共有四章。其中,第一章將《浮士德交響曲》置于浪漫主義音樂發(fā)展的整體背景中,對李斯特以"詩意音樂"為核心的標題音樂理念進行解讀。同時,通過闡述浪漫主義時期的"浮士德"音樂現(xiàn)象,凸顯《浮士德交響曲》的重要性和特殊性。第二章以《浮士德》從文學作品到音樂作品的轉(zhuǎn)化作為觀察對象。首先針對西方浮士德傳奇的文學發(fā)展脈絡(luò)展開簡要梳理,并以歌德的《浮士德》詩劇為標準參照。繼而從"戲劇化"和"器樂化"兩個途徑探究作曲家對這一題材的處理方式,以柏遼茲和瓦格納的相關(guān)作品作為例證,與李斯特的《浮士德交響曲》產(chǎn)生對比。第三章是本文的核心章節(jié),進入到《浮士德交響曲》的音樂創(chuàng)作分析與標題性意涵解讀,分別從音樂主題的構(gòu)建、主題變形技法的運用和整體結(jié)構(gòu)設(shè)計三個方面展開分析。其中,刻畫性格體現(xiàn)出李斯特典型的標題音樂寫作角度,而主題變形作為音樂發(fā)展手段,一方面完成音樂邏輯的展開,另一方面也帶來標題性內(nèi)容的隱喻。此外,多層次結(jié)構(gòu)反映了李斯特對傳統(tǒng)曲式的突破,也是標題音樂創(chuàng)作的共同特征。第四章基于以上內(nèi)容,進一步闡釋《浮士德交響曲》的藝術(shù)特征與人文蘊涵。通過對李斯特交響作品的整體觀察,總結(jié)出他最具特色的標題音樂語言。最后對"浮士德"精神在李斯特藝術(shù)生涯中的聯(lián)想做以解讀,這種情懷不僅是他自身理想的投射,更是浪漫主義文化的縮影。
[Abstract]:Liszt was one of the most important composers of title music during the Romantic period. He frequently uses poetry as the inspiration source of music creation, emphasizes the poetic meaning of music, and realizes the innovation of symphony music. Among Liszt's numerous captions, the Faustus Symphony is a very important and special work. This work, written in Weimar period, shows his exploration and practice of title symphony music language. At the same time, Faust Spirit is an important image in Liszt's music life. This paper takes Faustus Symphony as the research object, takes the music history as the basic research method, combines the work analysis and other ways, deeply explores the music language characteristic and the title meaning of this work. It also discusses the special significance of Faust's spirit in Liszt's writing career and even in western music culture. There are four chapters in this paper. The first chapter puts Faustus Symphony under the overall background of the development of Romantic music, and interprets Liszt's title music idea with poetic music as the core. At the same time, the significance and particularity of Faustus Symphony are highlighted by expounding the musical phenomenon of Faust in the Romantic period. The second chapter focuses on the transformation of Faust from literature to music. Firstly, it briefly combs the literary development of Faustus Legend in the West, and makes reference to Goethe's Faustus. Then it explores the way the composer deals with this subject from the two ways of "dramatization" and "instrumental music", taking Berlioz and Wagner's related works as examples, and contrasts with Liszt's "Faustus Symphony". The third chapter is the core chapter of this paper, into the "Faustus Symphony" music creation analysis and title meaning interpretation, respectively from the music theme construction, theme deformation techniques and the overall structure of the three aspects of the analysis. Among them, characterizing character reflects Liszt's typical angle of title music writing. As a means of music development, thematic deformation, on the one hand, completes the development of music logic, on the other hand, it also brings about metaphor of title content. In addition, the multi-level structure reflects Liszt's breakthrough in traditional forms and the common feature of title music creation. The fourth chapter, based on the above, further explains the artistic features and humanistic implications of the Faustus Symphony. Through the overall observation of Liszt's symphonic works, the author summarizes his most distinctive title music language. Finally, the association of Faustus spirit in Liszt's art career is interpreted, which is not only the projection of his own ideal, but also the epitome of Romantic culture.
【學位授予單位】：上海音樂學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J614
本文編號：2327369
[Abstract]:Liszt was one of the most important composers of title music during the Romantic period. He frequently uses poetry as the inspiration source of music creation, emphasizes the poetic meaning of music, and realizes the innovation of symphony music. Among Liszt's numerous captions, the Faustus Symphony is a very important and special work. This work, written in Weimar period, shows his exploration and practice of title symphony music language. At the same time, Faust Spirit is an important image in Liszt's music life. This paper takes Faustus Symphony as the research object, takes the music history as the basic research method, combines the work analysis and other ways, deeply explores the music language characteristic and the title meaning of this work. It also discusses the special significance of Faust's spirit in Liszt's writing career and even in western music culture. There are four chapters in this paper. The first chapter puts Faustus Symphony under the overall background of the development of Romantic music, and interprets Liszt's title music idea with poetic music as the core. At the same time, the significance and particularity of Faustus Symphony are highlighted by expounding the musical phenomenon of Faust in the Romantic period. The second chapter focuses on the transformation of Faust from literature to music. Firstly, it briefly combs the literary development of Faustus Legend in the West, and makes reference to Goethe's Faustus. Then it explores the way the composer deals with this subject from the two ways of "dramatization" and "instrumental music", taking Berlioz and Wagner's related works as examples, and contrasts with Liszt's "Faustus Symphony". The third chapter is the core chapter of this paper, into the "Faustus Symphony" music creation analysis and title meaning interpretation, respectively from the music theme construction, theme deformation techniques and the overall structure of the three aspects of the analysis. Among them, characterizing character reflects Liszt's typical angle of title music writing. As a means of music development, thematic deformation, on the one hand, completes the development of music logic, on the other hand, it also brings about metaphor of title content. In addition, the multi-level structure reflects Liszt's breakthrough in traditional forms and the common feature of title music creation. The fourth chapter, based on the above, further explains the artistic features and humanistic implications of the Faustus Symphony. Through the overall observation of Liszt's symphonic works, the author summarizes his most distinctive title music language. Finally, the association of Faustus spirit in Liszt's art career is interpreted, which is not only the projection of his own ideal, but also the epitome of Romantic culture.
【學位授予單位】：上海音樂學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J614
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