【摘要】： 十九世紀(jì)西方音樂(lè)史上,理查德·瓦格納(Richard Wagener,1813—1883)和他的“樂(lè)劇”影響意義之重大毋庸多言。但在瓦格納創(chuàng)作后期那些光華奪目的“樂(lè)劇”之出現(xiàn)前,他創(chuàng)作中期的幾部作品也具有很強(qiáng)的審美價(jià)值,至今它們?nèi)允歉鑴∥枧_(tái)上常演的佳作。這些歌劇在類型上還不屬于樂(lè)劇,但卻記錄著瓦格納向著“樂(lè)劇”理想邁進(jìn)的足跡,在瓦格納音樂(lè)理想的實(shí)踐中具有非常重要的意義。被歸類于“浪漫主義歌劇”的《漂泊的荷蘭人》是這些結(jié)合了多重風(fēng)格的、具有轉(zhuǎn)折性的作品中最有代表意義的一部歌劇。 本文以《漂泊的荷蘭人》的腳本和音樂(lè)創(chuàng)作的分析為切入點(diǎn),將該劇的創(chuàng)作與瓦格納的生活經(jīng)歷、瓦格納畢生的藝術(shù)理想和實(shí)踐相聯(lián)系,充分挖掘了這部歌劇對(duì)瓦格納畢生歌劇創(chuàng)作和藝術(shù)追求的意義和價(jià)值。 全文分為四章。第一章綜合介紹瓦格納的生平、他的所有歌劇作品的創(chuàng)作情況和《漂泊的荷蘭人》創(chuàng)作概況。瓦格納的歌劇創(chuàng)作可分為三個(gè)時(shí)期,第一個(gè)時(shí)期是不成熟的模仿期,第二個(gè)時(shí)期既是創(chuàng)作風(fēng)格的形成期和又是樂(lè)劇創(chuàng)作的準(zhǔn)備期,其間有《漂泊的荷蘭人》等四部歌劇作品。第三個(gè)時(shí)期是樂(lè)劇創(chuàng)作時(shí)期。第二章和第三章從腳本和音樂(lè)兩方面分析這部歌劇的具體特點(diǎn),是全文探討其意義基石所在。其中第二章對(duì)腳本劇情進(jìn)行簡(jiǎn)單介紹并結(jié)合創(chuàng)作背景、題材來(lái)源以及瓦格納對(duì)歌劇藝術(shù)的理想分析腳本的性質(zhì)和內(nèi)涵。這部歌劇選擇了神怪傳說(shuō)的素材并從中加入瓦格納的自傳性創(chuàng)作,這一選擇并非偶然,而是代表了瓦格納一個(gè)時(shí)期的藝術(shù)創(chuàng)作傾向。第三章是對(duì)歌劇重要的音樂(lè)片段的分析,包括對(duì)主導(dǎo)動(dòng)機(jī)的分析、對(duì)序曲的分析和對(duì)主要唱段的分析,從而總結(jié)出該劇在音樂(lè)上的特點(diǎn)。這三者的分析是密切相關(guān)的,因?yàn)榭v觀這部歌劇整體的布局,主導(dǎo)動(dòng)機(jī)作為全劇的核心,使音樂(lè)的整體性大大增強(qiáng)。序曲和主要唱段的分析將主要著重于這一點(diǎn),同時(shí),其和聲調(diào)式的特點(diǎn)是分析的另一重點(diǎn)。第四章結(jié)合德國(guó)民族歌劇的特點(diǎn)和瓦格納樂(lè)劇的藝術(shù)理念,揭示這部歌劇在瓦格納歌劇中的特殊地位。一方面,瓦格納汲取民族音樂(lè)文化的營(yíng)養(yǎng)、深受民族歌劇傳統(tǒng)的影響,因此《漂泊的荷蘭人》具有濃厚的民族色彩,從題材的選擇、對(duì)序曲的處理和民間音樂(lè)素材的運(yùn)用等都體現(xiàn)出這一點(diǎn),因此它是瓦格納弘揚(yáng)民族音樂(lè)文化尤其是民族歌劇藝術(shù)的一部代表作品。另一方面瓦格納后期的樂(lè)劇所具有特點(diǎn)在這部歌劇中已經(jīng)開(kāi)始顯現(xiàn)。在這部歌劇中,他摒棄了投觀眾所好的創(chuàng)作原則而直面內(nèi)心的藝術(shù)理想,在短時(shí)間內(nèi)的確遭到了冷遇,但經(jīng)過(guò)時(shí)間的洗禮,人們發(fā)現(xiàn)瓦格納真正的藝術(shù)追求從此邁出了第一步,瓦格納核心的藝術(shù)理想——樂(lè)劇理想在這部歌劇中已經(jīng)初露萌芽。
[Abstract]:In the history of western music in the nineteenth century, Richard Wagener,1813-1883 and his musical drama were of great significance. But before Wagner's brilliant music plays appeared in his later period, his works in the middle period also had a strong aesthetic value, and they are still good works on the opera stage. These operas are not music dramas in type, but they record Wagner's footsteps toward the ideal of "music drama", which is of great significance in the practice of Wagner's musical ideal. The wandering Dutchman, classified as "Romantic Opera", is one of the most representative of these multi-styled, transformational works. Based on the analysis of script and music creation of the wandering Dutchman, this paper links the creation of the play with Wagner's life experience, Wagner's lifelong artistic ideal and practice. It fully excavates the significance and value of this opera to Wagner's lifetime opera creation and artistic pursuit. The full text is divided into four chapters. The first chapter introduces the life of Wagner, the creation of all his operas and the creation of the wandering Dutchman. Wagner's opera creation can be divided into three periods, the first period is immature imitation period, the second period is not only the period of creation style but also the period of preparation for the creation of music opera, during which there are four operas, such as the wandering Dutchman. The third period is the period of music drama creation. The second and third chapters analyze the characteristics of the opera from the script and music aspects, which is the cornerstone of its significance. The second chapter briefly introduces the script plot and analyzes the nature and connotation of the script in combination with the background, the source of the subject matter and Wagner's ideal of opera art. Wagner's autobiographical creation is not an accidental choice, but a representative of Wagner's artistic tendency in a certain period. The third chapter is the analysis of the important music segment of opera, including the analysis of the dominant motivation, the analysis of the prelude and the analysis of the main choreography, so as to summarize the musical characteristics of the play. The analysis of the three is closely related, because throughout the overall layout of the opera, the dominant motivation as the core of the play, so that the integrity of the music greatly enhanced. The analysis of the prelude and the main choir will focus mainly on this, and the characteristics of its tone and tone are another emphasis of the analysis. The fourth chapter combines the characteristics of German national opera and the artistic concept of Wagner's opera to reveal the special position of this opera in Wagner's opera. On the one hand, Wagner absorbed the nutrition of national music and culture, and was deeply influenced by the tradition of national opera. The treatment of prelude and the use of folk music materials reflect this point, so it is a representative work of Wagner to carry forward the folk music culture, especially the national opera art. On the other hand, the characteristics of Wagner's later music play have already begun to appear in this opera. In this opera, he abandoned the good creative principles of the audience to face the artistic ideals of the heart, in a short period of time, but through the baptism of time, people found that Wagner's true artistic pursuit has taken the first step. Wagner's core artistic ideal-musical drama ideal in this opera has begun to appear.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：J832.2;J605

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 康嘯;瓦格納歌劇《帕西法爾》研究[D];中國(guó)音樂(lè)學(xué)院;2012年

相關(guān)碩士學(xué)位論文 前2條

1 呂麗;瓦格納戲劇觀念在其歌劇序曲及樂(lè)劇前奏曲中的體現(xiàn)[D];上海音樂(lè)學(xué)院;2011年

2 吳會(huì)云;瓦格納歌劇《唐豪瑟》中“唐豪瑟”人物形象分析[D];福建師范大學(xué);2013年

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本文編號(hào)：2367395