【作者】 明虹；

【导师】 贾达群；

【作者基本信息】 上海音乐学院 ， 音乐学， 2010， 博士

【摘要】 20世纪俄罗斯宗教音乐是其历史的鼎盛时期。很多在世界音乐史上享有盛誉的俄罗斯作曲家们均创作了数目不等的宗教作品。他们在该领域积累了丰富的创作经验、取得了丰硕的成果,并且把个人的宗教观念融入到音乐的创作之中。这些经验和成果不仅具有重要的音乐史学价值,而且还对俄罗斯音乐美学、心理学的发展以及其它领域的创作产生了深远的影响。同时,宗教音乐创作的空前繁荣从一个侧面反映了俄罗斯现代社会的发展状况,因此,通过对宗教音乐的研究可以深化对俄罗斯历史、哲学、艺术等精神文化领域的认知。本论文从宗教观念和音乐结构的角度切入,通过对俄罗斯宗教文化传统的溯源与20世纪宗教音乐文本的分析,力求发现俄罗斯民族自我意识的特征,进而完成对20世纪俄罗斯宗教音乐的一次并非全面的探索。在研究思路上,笔者把俄罗斯的宗教历史、哲学、文化等方面与作曲技术放在同等重要的地位看待,强调观念对于作曲技法的主导作用。本论文由绪论、正文和结语三部分组成,正文在结构上分为上、下两篇。此外,笔者将俄罗斯教堂礼拜仪式的古斯拉夫语歌词翻泽成汉语,并作了简要分析,载于附录正文的上篇包括两章,第一章对俄罗斯民族宗教观念和传统宗教音乐进行了历史回顾,着重探讨了在历史、政治、文化发展等背景下,末世论思想和弥赛亚意识的形成与发展及其对音乐创作技法的影响；第二章较为系统地梳理了20世纪俄罗斯宗教音乐的发展状况,其中就历史分期、发展趋势及影响音乐创作的主要宗教思想作了概括性的总结。下篇包括五章,即正文的第三至七章。笔者从20世纪最具代表性的俄罗斯宗教音乐作品中选取了三部作为研究对象,将各种分析方法作为具体的分析手段,对音乐作品的结构形态和结构过程进行全面而细致的探析,以期管窥个人宗教观念与音乐形式化过程的关系。第六章从多元化主题、复调技法和管弦乐技法三个维度对(泛)宗教音乐创作的技法发展进行观照。第七章揭示信仰危机与“宗教热”如影随形的现象,探讨宗教信仰与民族凝聚力的关系问题,并对俄罗斯宗教音乐创作的艺术特性进行了概括提炼与总结。一言以蔽之,历经千年积淀,末世论思想和弥赛亚意识已化成俄罗斯民族集体无意识的重要部分,它也是20世纪俄罗斯宗教音乐的精神内核。反之,作曲家们通过观念与音乐相结合的方式,使俄罗斯的宗教文化不断地传承与发展,从某种角度讲,音乐创作的繁荣推动了宗教历史的进程。更多还原

【Abstract】 Russian religious music entered its heyday in the 20th century. A number of world-famous Russian composers created their own religious works, different in number though. They incorporated their own ideas of religion into the composition in this particular genre, and gained both considerable experience and significant achievement, which is not only of great value to the scholarship on music history but also exerted profound influence on other fields, such as music aesthetics and music psychology. Meanwhile, the prosperity of religious composition reflected the development of the modern society of Russia. Thus, the study of such music can lead to more knowledge and deeper recognition of the history, philosophy and arts of Russia.This dissertation, with religious idea and musical structure as its point of departure, traces the origin of the traditional Russian culture and analyzes the Russian religious works of the 20th century. Based on the study of these aspects, the dissertation tries to explore the common spiritual structure shared by culture and music, and to identify, through the connection between religion and music, the characteristics of the self-consciousness of the Russian nation. In so doing, the author attempts to offer a general discussion of the Russian religious music in the 20th century. In the dissertation, the religious history, philosophy and culture are attached equal importance as that of compositional techniques, and the dominant influence of religious ideas on compositional techniques are emphasized.This dissertation consists of introduction, the main body and conclusion. The main body includes two parts. Besides, the translation of the text of the Russian church music, from anciant Slavic to Chinese by the author, is attched as two appendixes.The first part of the main body is made up of two chapters. The first chapter is a review of the history of the religious ideas and traditioanl religious music of Russia. It focuses on the formation and development of eschatology and the consciousness of Messiah and their influence on music compositional techniques, in the historical, political and cultural circumstances. The second chapter systematically traces the development of the Russian religious music of the 20th century and gives an outline of the periodization, tendencies and the primary religious ideas that impacted musical composition.The second part of the main body is composed by the final five chapters of the dissertation. The first three chapters of this part deal with three representative Russian religious musical works of the 20th century respectively. By means of various analytical methods, the author closely examines the structural patterns and processes of these works, aiming to explore the relationship between composers’ personal religious ideas and the formal processes of the music. The sixth chapter discusses the development of the structural patterns of general religious music in terms of pluralistic themes, polyphonic technique and orchestration. Speaking of the phenomenon that the crisis of belief and "religious cult" maintain very close connection, the final chapter probes into the relationship between religious belief and national cohesion. Moreover, it also summarizes the artistic characteristics of Russian religious music.All in all, with such a long-standing and time-honored tradition, eschatology and the consciousness of Messiah have become an important part of the collective unconsciousness of the Russian nation. They also serve as the spiritual core of the Russian religious music of the 20th century. The composers, in turn, enabled the Russian religious culture to be passed on and progress by incorporating relevant ideas into their music. In this sense, the flourishment of musical composition hepls to promote the process of religious history.更多还原