文森特·丹第(Vincent d`Indy)是19世纪下半叶到20世纪初的法国作曲家、音乐教育家。在他生活的时代,丹第和德彪西一样出名,然而最终被淘汰出伟大音乐家的行列。国外关于他的研究绵延近一个世纪。尤其是在过去20年中,在美国学者倡导的以文化研究为主导的音乐史研究中,丹第及其所生活的时代再次成为研究热点,而丹第本人也因其复杂的经历和多面的世界观引来了前所未有的关注。相比之下,国内关于他的译介和研究几乎处于零状态,关于他的《塞文山歌交响曲》和《伊斯塔尔》也仅有粗略的音乐分析文章共三篇。[1]本文试图从音乐叙事学的角度对交响变奏曲《伊斯塔尔》以新的解读。从文学叙事理论的影响中发展起来的音乐叙事学理论不断吸收叙事学理论、释义学、后现代主义理论、文化批判理论,已成为一种多元文化视角下的音乐研究方法。笔者希望借此为今日中国之西方音乐史研究提供有用的资讯和材料。 Vincent d`Indy is a French composer and music educator from the second half of the 19th century to the beginning of the 20th century. In his own time, Dante was as famous as Debussy, but was eventually eliminated as a great musician. Abroad about his research lasted nearly a century. Especially in the past 20 years, in the study of music history led by American scholars advocating cultural studies, Dante and the era in which Dante is living once again became the research hotspot, and Dante himself was also influenced by his complicated experiences and multifaceted The world view has drawn unprecedented attention. In contrast, his translations and researches in China are almost in a state of zero. There are only three articles of his music analysis about him in his “Symphony of Seychelles” and “Istar”. [1] This article attempts to interpret the symphonic Variations “Istar” from the perspective of musical narratology. The theory of music narratology developed from the influence of the theory of literary narration has absorbed the theories of narratology, hermeneutics, postmodernism and cultural criticism, and has become a method of music study from a multicultural perspective. The author hopes to provide useful information and materials for the study of western music history in China today.