歌剧《特里斯坦与伊索尔德》的和声研究

发布时间：2018-04-28 12:17

本文选题：瓦格纳 + 无终旋律　；参考：《上海音乐学院》2010年硕士论文

【摘要】： 理查德·瓦格纳,是十九世纪浪漫主义后期的德国著名作曲家、音乐家。他的创作具有极为鲜明的个性特征,特别是他在乐剧思想下进行改革的歌剧《特里斯坦与伊索尔德》,在和声上显得尤为重要：他以横向上的“无终旋律”为基础,以纵向上几乎不停顿的、连续的和声进行为主要支撑,以对终止式的规避、延缓、淡化和模糊为主要方式,使整部歌剧的音乐极具特色。本文选取歌剧《特里斯坦与伊索尔德》为主要对象,全文共分为四部分：歌剧《特里斯坦与伊索尔德》的产生；终止式的规避；终止式的延缓；淡化、模糊终止式形成调性扩张。通过对其内部和声的分析,总结归纳其整体和声特点：从终止式出发,通过和声手法与调性思维变化的相互融合,看整部歌剧的音乐是如何在将传统和声发展到极致的过程中,力图追求和声上的“无终性”。
[Abstract]:Richard Wagner is a famous German composer and musician in the late 19th century romanticism. His creation has very distinct personality characteristic, especially the opera "Tristan and Isolde", which he reformed under the music drama thought, is especially important in harmony: he is based on the horizontal "endless melody". The music of the whole opera is characterized by the longitudinal, uninterrupted, continuous harmony as the main support, and by the way of avoiding, delaying, desalinating and blurring the terminating style. This article selects the opera Tristan and Isolde as the main object, the full text is divided into four parts: the production of opera < Tristan and Isolde >; the termination of circumvention; the suspension of delay; desalination, Fuzzy termination forms tonality expansion. Through the analysis of its internal harmony, this paper summarizes the characteristics of its overall harmony: from the perspective of termination, through the fusion of harmony techniques and tonal thinking changes, we can see how the music of the whole opera develops to the extreme in the process of bringing traditional harmony to the extreme. Strive to pursue the harmony of "endlessness".
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J832

【引证文献】