在追寻中发掘自我——勋伯格与歌剧《期待》再解析.pdfVIP

中文摘要 美籍奥地利作曲家阿诺尔德·勋伯格（Arnold Schoenberg，1874-1951）无 疑是 20 世纪最受瞩目同时也倍受争议的作曲家。他一生中音乐创作风格跨越了 调性、无调性和十二音序列作曲三个阶段，其中从调性到 “无调性”的“转型” 更是他创作生涯当中浓墨重彩的一笔。本文论述的歌剧《期待》（op.17）就产生 于 1909 年自由无调性创作的初期。这部三十分钟的歌剧体量虽小，但是其中却 凝聚了作曲家在音乐手法和音乐理念上的革新，是勋伯格自由无调性时期的代表 之作。但是由于这部歌剧本身突破传统的表现手法以及部分人对勋伯格歌剧作品 的一些刻板认知，其自身的艺术价值并没有得到深层的挖掘。 基于此，本文尝试从两个部分入手，试图深入发掘这部作品的艺术特点和价 值内涵。首先从勋伯格成长的维也纳社会政治文化环境入手，去探究为何勋伯格 及其同代人如此重视“内在精神”。同时从作品的音乐和脚本出发，研究勋伯格 采用何种创作手法在《期待》这部音乐作品中表现出那种有别于传统的，真实且 本然的情绪冲动。另一方面，笔者在前文研究的基础上，进一步阐述了勋伯格的 音乐创作理念,以及作为一名受众,对《期待》这部稍显晦涩的作品其内在深层意 义的思考和诠释。 关键词：勋伯格；歌剧《期待》；独角戏；自由无调性音乐；内在精神 Abstract Austrian-American composer Arnold Schoenberg is arguably the most famous and controversial composer of the 20th century. His musical style spanned three stages of tonality, atonal and 12-tone composition, and the transformation from tonality to atonal is one of the highlights of his career. The opera Erwartung was produced in 1909 at the beginning of free atonal. Although the volume of this 30-minute opera is small, it embodies the composers innovation in musical technique and musical concept, which is the representative work of schoenbergs free atonal period. However, because of the opera breaks through the traditional technique of expression and some peoples rigid cognition of schoenbergs opera works, its own artistic value has not been deeply explored. Based on this, this paper attempts to start from two parts, trying to explore the artistic characteristics and value connotation of this work. First of all, starting from the social, political and cultural environment in Vienna where Schoenberg grew up, it explores why Schoenberg and his contemporaries attach so much importance to the inner spirit. At the same time, based on the music and script of the work, this paper