【作者】 杨和平；

【导师】 贾达群；

【作者基本信息】 上海音乐学院 ， 作曲与作曲技术理论， 2009， 博士

【摘要】 本研究以谭盾歌剧为研究对象,主要从剧本、音乐材料、结构与结构力、戏剧思维等四个方面展开分析,涉及谭盾自1989年以来创作的《九歌》、《马可·波罗》、《牡丹亭》、《茶》、《秦始皇》等五部歌剧。正文共分五章,第一章分析了上述五部歌剧的剧本,其中,非传统叙事类型包括《九歌》、《马可·波罗》两剧,叙事类型包括《牡丹亭》、《茶》、《秦始皇》三剧,分析内容从人物、情节、戏剧以及剧本特征等方面来展开。第二章探讨了谭盾歌剧中的材料设计,内容分为六节,对主题、音型化材料、吟诵材料、拼贴与仿作材料、打击乐等进行了分别研究。第三章分析了谭盾歌剧音乐的组织及相应的技术手法,包括材料布局、即兴与机遇对位、织体设计、空间设计等四个方面的内容。第四章对五部歌剧的整体结构及分场结构进行了阐释,五部歌剧在宏观结构特征上有交错镶嵌、板式变速、“框边”布局、形象结构等不同表现。结构力手法上,有“主题贯穿”、“音响信号贯穿”、“动机音程贯穿”、“结构对位”等各具特点的做法,使得谭盾歌剧呈现多重结构力综合作用的特点。第五章对谭盾歌剧的戏剧思维进行了研究,内容分三节,第一节探讨了谭盾歌剧中巫傩/戏曲色彩的成因。第二节探讨了谭盾歌剧中器乐的戏剧作用,并进而探讨了谭盾的“整体声音观念”,器乐在谭盾歌剧中具有与声乐并驾齐驱的地位,歌剧中应用了多种声音素材,一定程度上体现了谭盾在声音观念上的开放性。第三节探讨了文化配器与复风格的内容,除《九歌》外,其余四部歌剧均通过文化配器的手法来组织音乐材料、设计音乐结构,从而让作品具有“复风格”的特征。湖南民间傩戏、中国传统戏曲以及西方传统音乐、西方现代音乐等对于谭盾的音乐语言与戏剧思维的形成具有重要影响。本质上而言,东西文化的碰撞、民间文化与现代文化的冲突构成了谭盾歌剧之中戏剧性力量的本原所在。更多还原

【Abstract】 This dissertation studies Tan Dun’s Operas, focusing on his libretto, materials, form, structural integrity and dramatic idea. The operas discussed include Nine Songs(1989), Marco Polo ( 1995 ) , Peony Pavilion (1998 ) , Tea: A Mirror of Soul (2002) , and The First Emperor (2006) .The dissertation is comprised of 5 chapters. The first chapter investigates the librettos, the subject matter of the five librettos can be differentiated into two styles: the first style has no narrative story, and is used in Nine Songs and Marco Polo; the other one has a narrative story, and is used in Peony Pavilion, Tea and The First Emperor. The characters, plot, and drama of each opera are considered in the analysis, as are special features of each libretto.The second chapter investigates the musical materials used in the operas, including themes, gestures, recitation materials, collages and imitations of other musical styles and techniques, and percussion materials.The third chapter analyzes the musical organization and corresponding compositional techniques of Tan’s operas, including arrangement of materials, improvisation and aleatoric counterpoint, textural design, and spatial arrangement of instruments.In the fourth chapter, the macroscopic form and the forms of the subunits are analyzed. The five operas demonstrate certain characteristic structural features: passages of interlocking musical structures, tempo changes based on traditional Chinese "plate form," and the use of recurring passages that create a "frame" for the musical structure. Methods for increasing the structural integrity of the work as a whole including the use of themes, motivic intervals and repeating acoustic signals which reappear throughout the entire piece. Structural counterpoint is also used to promote continuity. Because of these features, Tan’s Operas display a high level of integrity.The fifth chapter studies Tan’s conception of drama, and is divided into three sections. The first section discusses Tan’s use of elements derived from Chinese Wuluo ceremonies (rituals for the exorcism of evil spirits) and Chinese opera. The second section discusses the use of instrumental music in Dun’s operas, as well as his philosophy of acceptance of all sounds. In Tan’s operas, instrumental music holds a place of equal importance as vocal music. Tan’s operas use a wide variety of sonic materials, demonstrating his openness to the musical value of the entire sonic spectrum. The third section discusses Tan’s use of polystylism and "cultural orchestration" Tan uses the technique of cultural orchestration to organize musical materials and design his structures in all of his operas except his earliest, Nine Songs. Tan’s drama is polystylistic; he creates an over-arching style by placing elements of different cultures into dialogue with each other.Tan’s dramatic idea is bound up with his life and educational background. The music of the exorcising rituals in his native province of Hunan, the stylistic practices of Chinese traditional opera and the Western musical tradition have all influenced his musical language.The conflicts that Tan captures in his operas, between Western culture and Eastern culture, folk culture and modern culture, create powerful dramatic momentum.更多还原