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西方的舞剧音乐是随着芭蕾舞剧艺术的兴起发展而发展的,十九世纪以《吉赛尔》、《天鹅湖》等一批古典剧目为代表迎来芭蕾舞剧的黄金时代。进入二十世纪,随着时代的发展和人们社会生活、审美趣味的变迁以及艺术家们创作理念的革新,舞剧音乐的创作也开始了一个让人目不暇接的崭新时代。这一时期舞剧音乐的内容和创作手法更为充实,更注重交响化,音乐的作用在舞剧艺术中也提到了一个前所未有的水平。其中最引人注目的是斯特拉文斯基多部风格迥异的作品。这些作品即代表着作曲家原始主义、新古典主义、序列主义三个不同时期截然不同的创作风格,也体现了二十世纪具有代表性的舞剧音乐创作特色和发展方向。本文将梳理斯特拉文斯基几个不同时期舞剧音乐的创作风格和艺术特色,以及在这些作品中怎样用音乐语汇来为舞剧制造肢体力点和营造一个立体的多维度空间。
Western ballet music developed with the rise and development of ballet art. In the nineteenth century, the golden age of ballet was represented by a group of classical repertory such as Giselle and Swan Lake. Enter the twentieth century, with the development of the times and the changes of people’s social life, aesthetic tastes and innovations in the creative concept of artists, the creation of ballet music has also begun a dizzying new era. During this period, the contents and creation of dance music were more fulfilled and symphonic, and the role of music in the art of ballet also mentioned an unprecedented level. One of the most notable is Stravinsky’s many different styles of work. These works represent the distinct creative styles of the composer Primitivism, Neoclassicalism and Sequenceism in three different periods. They also embody the representative characteristics and development direction of the ballet music in the twentieth century. This article will sort out the style and artistic features of Straussky’s dance music in different periods and how to use the musical vocabulary in these works to create physical force points and create a three-dimensional multi-dimensional space for ballet.