德彪西管弦乐作品《大海》的创作分析与指挥诠释
摘要
德彪西三乐章交响素描《大海》完成于1905年,是德彪两创作的具有代表性意义的作品。无论从美学、技法以及对后世作曲家的影响方面,这部作品都具有很强的标志性意义。本文主要从美学、创作技法、指挥法等几个方面对这首作品进行研究。文章主要分为三个部分：
第一部分：绪论,主要是对德彪西生平及创作整体状况进行回顾。对《大海》在德彪西创作生涯中的作用进行定位。并通过文献研究理清德彪西美学思想的形成、舆论评价及他个人的自我评价,揭示《大海》的美学内涵。
第二部分：主要是对《大海》的创作方法从不同的角度进行分析。首先对作品整体结构进行分析。由于这部作品的主题陈述方法与音高组织结构比较独特,因此结构的划分主要以音乐材料的陈述、发展过程为主要依据。兼顾对调性布局及音高因素进行简单的分析。其次从配器法角度对作品的印象主义风格进行分析。观察德彪西的配器方式以从技法的角度推论印象主义风格形成的机制。
第三部分：是从指挥法角度探讨在表演中如何解读《大海》的音乐性,展现《大海》的美学特点和音乐风格特点。本章对重要段落的指挥技术要点进行了阐述。
结论部分是对《大海》的美学及创作特征的总结与概括。
Claude Debussy composed many impressionistic works, and one of the most important among them is the three symphonic sketches for orchestra La Mer, composed in 1905. This repertoire has a strong symbolic significance on aesthetics, compositional technique and the influence on later composers. The author approached from the aspects of aesthetics, compositional technique and conducting technique to do research on this dissertation. Hence, this dissertation is mainly divided into three sections.
The first section contains a brief introduction and review on Debussy's life as a composer, and the role of La Mer throughout his career. Moreover, it focuses on how the development of Debussy's egoistic mindset could influence the essence of the repertoire La Mer.
In the second section, the author will approach the compositional technique La Mer from different aspects. Firstly is the analysis of the form and structure of this repertoire. The repertoire used unique ways to unfold the different themes and structures of pitch; therefore the analysis of the form and structure is mainly based on the process and usage of the music material. In addition, a basic analysis of the tonal structure and pitch range will be included;also using an approach from the aspect of orchestration to analyze on Debussy's impressionistic style of La Mer.
As for the third section, the author will approach from the view point as a conductor and discuss about the various ways of conducting the aesthetic and stylistic characteristics of La Mer.
Lastly is the conclusion of the aesthetic value and unique characteristic of the repertoire, La Mer.
第一部分：绪论,主要是对德彪西生平及创作整体状况进行回顾。对《大海》在德彪西创作生涯中的作用进行定位。并通过文献研究理清德彪西美学思想的形成、舆论评价及他个人的自我评价,揭示《大海》的美学内涵。
第二部分：主要是对《大海》的创作方法从不同的角度进行分析。首先对作品整体结构进行分析。由于这部作品的主题陈述方法与音高组织结构比较独特,因此结构的划分主要以音乐材料的陈述、发展过程为主要依据。兼顾对调性布局及音高因素进行简单的分析。其次从配器法角度对作品的印象主义风格进行分析。观察德彪西的配器方式以从技法的角度推论印象主义风格形成的机制。
第三部分：是从指挥法角度探讨在表演中如何解读《大海》的音乐性,展现《大海》的美学特点和音乐风格特点。本章对重要段落的指挥技术要点进行了阐述。
结论部分是对《大海》的美学及创作特征的总结与概括。
Claude Debussy composed many impressionistic works, and one of the most important among them is the three symphonic sketches for orchestra La Mer, composed in 1905. This repertoire has a strong symbolic significance on aesthetics, compositional technique and the influence on later composers. The author approached from the aspects of aesthetics, compositional technique and conducting technique to do research on this dissertation. Hence, this dissertation is mainly divided into three sections.
The first section contains a brief introduction and review on Debussy's life as a composer, and the role of La Mer throughout his career. Moreover, it focuses on how the development of Debussy's egoistic mindset could influence the essence of the repertoire La Mer.
In the second section, the author will approach the compositional technique La Mer from different aspects. Firstly is the analysis of the form and structure of this repertoire. The repertoire used unique ways to unfold the different themes and structures of pitch; therefore the analysis of the form and structure is mainly based on the process and usage of the music material. In addition, a basic analysis of the tonal structure and pitch range will be included;also using an approach from the aspect of orchestration to analyze on Debussy's impressionistic style of La Mer.
As for the third section, the author will approach from the view point as a conductor and discuss about the various ways of conducting the aesthetic and stylistic characteristics of La Mer.
Lastly is the conclusion of the aesthetic value and unique characteristic of the repertoire, La Mer.
引文
①The New Grove Dictionary of Music and Musicians
②The New Grove Dictionary of Music and Musicians
③http://yyjy.com/yybk/mqhc/gxy/200312/1549.html
④《管弦乐名曲解说》上册(美)爱德华·唐斯著,上海音乐学院音乐研究室 译,人民音乐出版社1988年。474页。
①The New Grove Dictionary of Music and Musicians
① 《音乐圣经》上卷389页,林逸聪 华夏出版社1999年。
② 《音乐圣经》上卷389页,林逸聪 华夏出版社1999年。
①《音乐圣经》上卷389页,林逸聪 华夏出版社1999年。
①The New Grove Dictionary of Music and Musicians
Simon Trezise "Debussy: La Mer", Cambridge University Press,1994
Howar, Roy "Debussy in proportion", Cambridge University Press,1983
Jean Vermeil "Conversations with Boulez Thoughts on Conducting", Amadeus Press,1996
Richard Langham Smith "Debussy Studies", Cambridge University Press,1997
Charles Madden "FIB and PHI in Music:The Golden Proportion in Musical Form", High Art Press, 2005
Elizabeth A. H. Green, Mark Gibson, "The Modern Conductor", Upper Saddle River, New Jersey 2004
Debussy Claude, "La Mer" Paris:Durand & Fils,1909. Plate D.& F.6532,6838. Mineola: Reprint Dover Publications,1983. Copy right at Public Domain
Rudolf, Max "The Grammar of Conducting", Wadsworth Group,1995
《德彪西管弦乐曲<大海>中的东方因素》；单琳著上海音乐学院2008年硕士论文
《德彪西音乐语言研究》；欧阳佳沁上海音乐学院2008年硕士论文
《德彪西——一个人和一位艺术家》(美)汤普森著；朱晓蓉,张洪模译
《德彪西<佩里亚斯与梅利桑德)与贝尔格<沃采克)和声比较研究>>；姜之国著中央音乐学院2006年博士论文
《二十世纪初以来中国人对德彪西音乐的接受与认识》；黄炜著；中央音乐学院2005年硕士论文。
《德彪西：印象主义音乐的创始人》；沈璇 著,人民音乐出版社1998年
《德彪西的管弦乐曲》；(英)考克斯著,廖叔同译,人民音乐出版社1987年
《管弦乐名曲解说》；(美)爱德华·唐斯著,上海音乐学院音乐研究室译,人民音乐出版社1988年
《音乐圣经))；林逸聪著,华夏出版社1999年
②The New Grove Dictionary of Music and Musicians
③http://yyjy.com/yybk/mqhc/gxy/200312/1549.html
④《管弦乐名曲解说》上册(美)爱德华·唐斯著,上海音乐学院音乐研究室 译,人民音乐出版社1988年。474页。
①The New Grove Dictionary of Music and Musicians
① 《音乐圣经》上卷389页,林逸聪 华夏出版社1999年。
② 《音乐圣经》上卷389页,林逸聪 华夏出版社1999年。
①《音乐圣经》上卷389页,林逸聪 华夏出版社1999年。
①The New Grove Dictionary of Music and Musicians
Simon Trezise "Debussy: La Mer", Cambridge University Press,1994
Howar, Roy "Debussy in proportion", Cambridge University Press,1983
Jean Vermeil "Conversations with Boulez Thoughts on Conducting", Amadeus Press,1996
Richard Langham Smith "Debussy Studies", Cambridge University Press,1997
Charles Madden "FIB and PHI in Music:The Golden Proportion in Musical Form", High Art Press, 2005
Elizabeth A. H. Green, Mark Gibson, "The Modern Conductor", Upper Saddle River, New Jersey 2004
Debussy Claude, "La Mer" Paris:Durand & Fils,1909. Plate D.& F.6532,6838. Mineola: Reprint Dover Publications,1983. Copy right at Public Domain
Rudolf, Max "The Grammar of Conducting", Wadsworth Group,1995
《德彪西管弦乐曲<大海>中的东方因素》；单琳著上海音乐学院2008年硕士论文
《德彪西音乐语言研究》；欧阳佳沁上海音乐学院2008年硕士论文
《德彪西——一个人和一位艺术家》(美)汤普森著；朱晓蓉,张洪模译
《德彪西<佩里亚斯与梅利桑德)与贝尔格<沃采克)和声比较研究>>；姜之国著中央音乐学院2006年博士论文
《二十世纪初以来中国人对德彪西音乐的接受与认识》；黄炜著；中央音乐学院2005年硕士论文。
《德彪西：印象主义音乐的创始人》；沈璇 著,人民音乐出版社1998年
《德彪西的管弦乐曲》；(英)考克斯著,廖叔同译,人民音乐出版社1987年
《管弦乐名曲解说》；(美)爱德华·唐斯著,上海音乐学院音乐研究室译,人民音乐出版社1988年
《音乐圣经))；林逸聪著,华夏出版社1999年