【摘要】：奧地利作曲家古斯塔夫·馬勒是晚期浪漫主義偉大的指揮家、作曲家,但他的音樂(lè)作品在他所處的19世紀(jì)末20世紀(jì)初一直是備受爭(zhēng)議的,自上世紀(jì)60年代起,他的音樂(lè)作品演出和學(xué)術(shù)研究才開(kāi)始逐漸受到重視,掀起了馬勒復(fù)興的浪潮。馬勒音樂(lè)中反諷、無(wú)奈、懷疑、焦慮和悲劇主義等情愫,以及對(duì)"生死"以及人類終極問(wèn)題的追問(wèn),與世紀(jì)末的社會(huì)、歷史語(yǔ)境相關(guān)聯(lián),他被看做是連接德奧音樂(lè)的核心傳統(tǒng)與二十世紀(jì)初的各種新風(fēng)尚的橋梁。本文以馬勒的《C小調(diào)第二交響曲》("復(fù)活")為研究對(duì)象,屬于歷史音樂(lè)學(xué)學(xué)科(西方音樂(lè)研究方向),以音樂(lè)史學(xué)研究為基礎(chǔ),并運(yùn)用音樂(lè)作品分析、音樂(lè)美學(xué)、哲學(xué)等學(xué)科研究方法。本文著重揭示這部作品的創(chuàng)作特色、藝術(shù)構(gòu)思和立意,并探討這部交響曲所體現(xiàn)出的馬勒的生死觀和哲學(xué)思想,以及馬勒的交響曲在音樂(lè)史上的特殊重要地位。本文共分為三章。第一章從思想背景方面論述了叔本華、尼采的哲學(xué)思想和基督教文化對(duì)馬勒和他的《第二交響曲》創(chuàng)作的影響;其次,將探討"泰坦"和"復(fù)活"這兩部交響曲之間的關(guān)系,第三,通過(guò)對(duì)馬勒藝術(shù)歌曲與交響曲的體裁滲透性,以及"魔號(hào)三部曲"的藝術(shù)特征的探究,來(lái)論述馬勒對(duì)兩種體裁的特殊審美情趣,最后還將詳述《第二交響曲》的創(chuàng)作始末和馬勒的交響曲理念,凸顯《第二交響曲》的重要性和特殊性。第二章筆者主要通過(guò)主題構(gòu)建與樂(lè)思發(fā)展、復(fù)調(diào)技法研究、末樂(lè)章詩(shī)詞和宗教內(nèi)涵解讀等方面,來(lái)探尋《第二交響曲》中馬勒對(duì)生死永恒問(wèn)題的思考,揭示立意的實(shí)現(xiàn)方式。這部五樂(lè)章交響曲,從結(jié)構(gòu)、調(diào)性布局,以及所暗示的標(biāo)題性情節(jié)——從葬禮到復(fù)活的過(guò)程,呈現(xiàn)出對(duì)稱性結(jié)構(gòu),這種對(duì)稱性布局方式與馬勒所要表現(xiàn)的生死輪回的精神內(nèi)涵相關(guān)聯(lián),整個(gè)作品經(jīng)歷了 "葬禮——思考與過(guò)渡——復(fù)活"這樣一個(gè)"由死到生"的過(guò)程。因此,在第二章的論述中,筆者總體上將五個(gè)樂(lè)章看做三個(gè)部分來(lái)進(jìn)行詮釋,文章的寫(xiě)作分為三節(jié)。第三章總結(jié)馬勒《C小調(diào)第二交響曲》("復(fù)活")的精神內(nèi)涵及歷史地位,首先橫向?qū)Ρ扰c馬勒同時(shí)期的三位作曲家,對(duì)瓦格納的"懲罰與救贖",布魯克納虔誠(chéng)而獨(dú)特的宗教情懷,理查德·施特勞斯與尼采"超人"思想的共鳴進(jìn)行了論述,目的在于凸顯馬勒對(duì)于人類終極問(wèn)題的不同理解;其次將縱向分析馬勒的交響之路,十部交響曲創(chuàng)作表現(xiàn)出來(lái)的技法和思想上的變化,凸顯《第二交響曲》在馬勒交響創(chuàng)作歷程中的特殊地位;最后通過(guò)馬勒第二交響曲的創(chuàng)作來(lái)論述馬勒對(duì)后世的影響。
[Abstract]:The Austrian composer Gustav Mahler was a great conductor and composer of late romanticism, but his music was controversial in his late 19th century and early 20th century, since the 1960s. His musical performance and academic research began to receive attention gradually, which set off the wave of Mahler's revival. The feelings of irony, helplessness, doubt, anxiety and tragedy in Mahler's music, as well as the question of "life and death" and the ultimate problems of mankind, are related to the social and historical context of the end of the century. He was seen as a bridge between the core traditions of German and Austrian music and the new fashions of the early twentieth century. This paper takes Mahler's Symphony No. 2 in C minor (Resurrection) as the object of study, belongs to the discipline of historical musicology (the direction of western music research), based on the study of musicology, and applies the analysis of music works and music aesthetics. Philosophy and other disciplines of research methods. This paper mainly reveals the creative characteristics, artistic conception and idea of this work, and discusses the life and death view and philosophy thought embodied in this symphony, as well as the special important position of Mahler's symphony in the history of music. This paper is divided into three chapters. The first chapter discusses the influence of Schopenhauer Nietzsche's philosophy and Christian culture on Mahler and his second Symphony from the perspective of ideological background. Secondly, the relationship between the two symphonies, Titan and Resurrection, will be discussed. Thirdly, the permeation of the genre of Mahler's art songs and symphonies, as well as the artistic characteristics of the Magic Trilogy, will be explored. This paper discusses the special aesthetic interest of Mahler to two genres, and at last will expound the creation of the second Symphony and the idea of Mahler's Symphony, which highlights the importance and particularity of the second Symphony. In the second chapter, the author explores Mahler's thoughts on the eternal question of life and death in Symphony II through the study of theme construction and the development of music, the study of polyphonic techniques, the interpretation of poems and religious connotations in the final movement, and reveals the way to realize the meaning. This five-movement symphony, from the structure, the tonal layout, and the implied title plot, from the funeral to the resurrection, takes on a symmetrical structure. This symmetrical layout is related to the spiritual connotation of the cycle of life and death that Mahler wants to perform. The whole work has gone through the process of "funeral-thinking and transition-resurrection", which is "from death to life". Therefore, in the second chapter, the author generally interprets the five movements as three parts, and the writing of the article is divided into three sections. The third chapter summarizes the spiritual connotation and historical status of Mahler's Symphony No. 2 in C minor (Resurrection). Bruckner's religious feelings are pious and unique. Richard Strauss and Nietzsche's thoughts of "Superman" resonate with each other in order to highlight the different understandings of Mahler's ultimate human problems. Secondly, it analyzes the symphonic road of Mahler and the changes of techniques and ideas in the creation of ten symphonies, highlighting the special position of the second Symphony in the course of his symphonic creation. Finally, the influence of Mahler on later generations is discussed through the creation of the second Symphony of Mahler.
【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】：2017
【分類號(hào)】：J614

【參考文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 朱連理;從馬勒的交響作品看西方音樂(lè)中的“死亡”母題[D];上海音樂(lè)學(xué)院;2009年

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本文編號(hào)：2402547