理查‧史特勞斯三部早期音詩《馬克白》、《唐璜》與《死與淨化》之幻化

• Main Author: 陳怡文
• Other Authors: 羅基敏
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/r7nyvv

碩士 === 國立臺灣師範大學 === 音樂學系 === 97 === Richard Strauss inherited the theory of symphonic poem brought by Liszt; he enhanced and glorified it in the end of nineteenth century. Macbeth, Don Juan, and Tod und Verklärung, three works composed by Strauss, deviate from the absolute music of classicism and enter into the world of symphonic poem for the first time. As for the Strauss’s composition career, he composed the works of symphonic poem in his first-half of life and then centered on composing opera in latter part of his life. It is the “theatrical” elements in music that reveal Strauss’s composition type from instrumental works to theatrical and stage works. In order to discuss Strauss’s thought on theatrical composing, which was perfused in the three “tone poems” of his early stages works, there are five chapters devoted in this thesis, each from different aspects of analyzing the form of work, the design of music theme, and instrumentation. Besides, this thesis also reveals how the composer made the seemingly hard structure of sonata form disintegrated step by step by examining the ways of combining music with literature. Chapter One starts from the views on the symphonic poems of Liszt and Strauss, it then discusses Strauss’s the composing experience swaying between the orchestral music and opera. Finally, it focus on the composing background of the three works mentioned above. From Chapter Two to Four, it represents detailing on the composing method of music itself and its relationship with literature. Chapter Five is conclusion, bringing out the view that there are still plenty vivid theatrical images in the frame of sonata form.