【作者】 汪静一；

【导师】 赵维平；

【作者基本信息】 上海音乐学院 ， 音乐学， 2007， 硕士

【摘要】 歌剧17世纪诞生在意大利的佛罗伦萨，在西方一直被视为十分重要的艺术品种，甚至被认为是衡量一个国家音乐艺术发展水平的标志之一。在西方歌剧展开的400多年期间，她对欧洲的文化、风俗及人们的审美态度都不同程度地产生过影响。西方歌剧作为一个综合性的舞台艺术，无疑是众多艺术门类中最具文化内涵和生命力的，自19世纪浪漫时期以来，它的影响力也冲击到了包括亚洲地区的世界各地。对此，对于这样一个外来体裁，亚洲的中国和日本是如何引进和接受的?实际上同样是东方民族的两个国家对西方歌剧的理解和接受的态度以及结果是不同的。本研究以中国作曲家金湘创作的歌剧《原野》与日本作曲家团伊玖磨的歌剧《夕鹤》这两部歌剧为例，对它们进行实证性考察，试图通过中日两国对西方音乐文化的不同接受态度来揭示出文化背后的现象。更多还原

【Abstract】 Opera, emerged in Florence of Italy in 17th century, has always been taken as an important art form in western states, even as a standard to measure the development level of art and music of a country. Having spread out for 400 years, western opera has an impact on European culture, custom as well as people’s aesthetic conceptions in different degrees. As an comprehensive stage art form, western opera, among other variety of arts, has no doubt the most cultural connotation and vitality. Since the romantic era in 19th century, it has had a worldwide influence including Asian regions.From the view that the perspectives and acceptances of western operas in two oriental countries: Japan and China, this thesis analyses the phenomenon and the cause of the different results while receiving the same western music. On the ground of two operas:《YuanYe》by Chinese composer JinXiang, and the《The Twilight Heron》,by Japanese composer Dan lkuma, this research is a demonstrative study which bases on the actual text, and at the same time, discusses the differences in understanding western cultures between Chinese and Japanese.更多还原