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題 名 | 荀貝格歌劇「摩西與亞倫」初探=An Overview of Schoenberg's Opera 「Moses und Aron」 |
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作 者 | 徐登寶; | 書刊名 | 臺中師院學報 |
卷 期 | 16 2002.07[民91.07] |
頁 次 | 頁711-736 |
分類號 | 915.2 |
關鍵詞 | 荀貝格; 歌劇; 摩西與亞倫; 音列主義; Schoenberg, Arnold; |
語 文 | 中文(Chinese) |
中文摘要 | 荀貝格是二十世紀音列主義的開山祖師。他以十二音制--音列主義的原型--譜寫 的歌劇《摩西與亞倫》,被譽為上世紀最重要的歌劇作品之一。本文經由總譜的實地觀察研究,證實該劇確由一組基本音列組構而成。但由於十二音制排除了傳統和聲的運用,致使曲調的可歌唱性及音樂的描寫能力都大為縮減,從而限制了它所服務的歌劇題材範圍。因此,十二音制是否適合於歌劇寫作,確是一個值得深思的問題。 |
英文摘要 | Amold Schoenberg was the leading pioneer of the 20th-century serialism. He had composed an opera named 《 Moses und Aron》 in twelve-tone system, the original form of serialism. That opera has been deemed as one of the most important operatic works of the 20th-century. Through investigation on the score, this article has confirmed that 《 Moses und Aron》 is surely woven by a single twelve-tone row. Since the twelve-tone system casting away the harmonic system, the singable nature of melody and the narrative ability of music have been diminished. BY doing so, the twelve-tone system has confined the range of opera. It is doubtful whether dodecaphony is fit for opera. |
本系統中英文摘要資訊取自各篇刊載內容。