摘要
歌剧作为音乐体裁的最高形式,它涵盖了文学、表演、舞蹈、舞美等诸多要素.一部歌剧从写作之初到完成,无论是对剧本的构想,还是戏剧线索与音乐场次的设定,又或是器乐形式与剧情发展的契合,均为作曲家的精心"设计".在写作中,复调思维以独具的纵横原则构架起音乐织体,塑造出人物形象、戏剧情绪并推动音乐发展.通过音高、织体与文学脚本的双重语义来触发戏剧中的矛盾冲突,并以逻辑又立体的方式,全方位地进行塑情塑景.文章通过对谭盾歌剧《牡丹亭》的情节解析与音乐材料分析,从局部到整体两方面来剖析复调思维对歌剧作品多层结构的构架作用.
Abstract
Opera,as a comprehensive art form,encompasses literature,performance,dance,and stage design.Composers meticulously craft the opera's compositional process,from conceiving the libretto to orchestrating dramatic clues,musical scenes,and instrumental accompaniment.Polyphonic thinking with its unique vertical and horizontal principles,provides a framework for constructing musical texture that effectively shapes charac-ters,dramatic atmosphere,and musical development.Through the manipulation of pitch,texture and literary script,composers create conflict,mood and dramatic scenes in a logical and multi-dimensional way.This study examines the role of polyphonic thinking in constructing the multi-layered structure of Tan Dun's The Peony Pavilion,analyzing both the overall plot and musical elements.
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