当代音乐创作中的文本阐释——以布列兹作品《重重皱褶》为例
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摘要
文本至上是作曲家在对待音乐文学二者关系上的传统原则。调性的瓦解、主题的更新及节奏观念的改变使20世纪音乐不可避免地面临以何种方式对待文学文本的问题。当代音乐的代表作曲家皮埃尔·布列兹在创作过程中形成了对待文学与音乐关系的一套理念。一方面他维持了音乐与文本意义上的一致,如对文本标点、结构和手法的遵循;另一方面他不再遵循将音乐与文本并置的传统处理方式,而采用融合、抽象与变形的处理方式。从布列兹的作品《重重皱褶》(Pli selon pli)对19世纪法国著名象征派诗人、现代诗歌理论的奠基人斯特芳·马拉美的诗歌文本的解读方式上,可以一窥现代音乐与文学的结合是如何沿袭传统并进行革新的。
Text domination has been a traditional way in composers' dealing with the relationship between music and text. The collapse of tonality, the revision of themes and changes in the conception of rhythms make the 20 th century music have to face the problem of how to approach the relationship between music and literature text. On the one hand, he maintained the meaning of the text in music and on the other hand he challenged the traditional way which parallelized music and text. He adopted the text of Stephane Mallarme in the work Pli selon Pli and his interpretation of text shows us an example of how contemporary music combines literature.
Text domination has been a traditional way in composers' dealing with the relationship between music and text. The collapse of tonality, the revision of themes and changes in the conception of rhythms make the 20 th century music have to face the problem of how to approach the relationship between music and literature text. On the one hand, he maintained the meaning of the text in music and on the other hand he challenged the traditional way which parallelized music and text. He adopted the text of Stephane Mallarme in the work Pli selon Pli and his interpretation of text shows us an example of how contemporary music combines literature.
引文
[1]Peter F.Sracey.Comtemporary Tendencies in the Relationship of Music and Text with Special Reference to Pli Selon pli and Laborintus II[M].New York:Garland Pub.,1989.
[2]Mary Breatnach.Boulez and Mallarmé:A Study in Poetic Influence[M].Aldershot:Ashgate Publishing Ltd.,1996.
[3]Dominique Jameux.Pierre Boulez[M].Cambridge:Harvard University Press,1990.
[4]斯特凡·马拉美.马拉美诗全集[M].葛雷,梁栋,译.杭州:浙江文艺出版社,1997.
[5]郑克鲁.象征的多层意义和晦涩──马拉美的诗歌创作[J].复旦学报(社会科学版),1995(6).
(1)Pierre Boulez:Notes of an Apprenticeship,Translated by Herbert Weinstock,New York:Alfred A.Knopf,1968,p.55.
(2)Pierre Boulez:Notes of an Apprenticeship,Translated by Herbert Weinstock,New York:Alfred A.Knopf,1968,p.56.
(3)Pierre Boulez:Orientations:Collected Writings,London:Faber&Faber,p.143.
(1)Boulez,Celestin Deliege:Conversations with Célestin Deliège,Translated by B.Hopkins,London:Eulenburg Books,1976,p.17.
(1)Boulez,Celestin Deliege:Conversations with Célestin Deliège,Translated by B.Hopkins,London:Eulenburg Books,1976,p.98.
[2]Mary Breatnach.Boulez and Mallarmé:A Study in Poetic Influence[M].Aldershot:Ashgate Publishing Ltd.,1996.
[3]Dominique Jameux.Pierre Boulez[M].Cambridge:Harvard University Press,1990.
[4]斯特凡·马拉美.马拉美诗全集[M].葛雷,梁栋,译.杭州:浙江文艺出版社,1997.
[5]郑克鲁.象征的多层意义和晦涩──马拉美的诗歌创作[J].复旦学报(社会科学版),1995(6).
(1)Pierre Boulez:Notes of an Apprenticeship,Translated by Herbert Weinstock,New York:Alfred A.Knopf,1968,p.55.
(2)Pierre Boulez:Notes of an Apprenticeship,Translated by Herbert Weinstock,New York:Alfred A.Knopf,1968,p.56.
(3)Pierre Boulez:Orientations:Collected Writings,London:Faber&Faber,p.143.
(1)Boulez,Celestin Deliege:Conversations with Célestin Deliège,Translated by B.Hopkins,London:Eulenburg Books,1976,p.17.
(1)Boulez,Celestin Deliege:Conversations with Célestin Deliège,Translated by B.Hopkins,London:Eulenburg Books,1976,p.98.