摘要
本文以法国浪漫主义作曲家柏辽兹的《浮士德的沉沦》为对象,分析了作品从文学到音乐的转化过程中的种种变异。展现了柏辽兹这位富于改革精神的浪漫主义作曲家,不但敢于对歌德的伟大作品大刀阔斧地进行改动,而且对音乐的内容与形式也大胆地创新。在由文学转换为音乐脚本时,他不固封于原作。在确定文学脚本后,他常常打破各种音乐体裁的界限,创立了符合内容的新形式。以达到内容与形式的统一。
The article is based on Berlioz's work La Damnation de Faust, analyzing the variations in the transformation from literature to music. It shows the composer's innovative spirit in the reformation of both the Goethe's poet and the music content and form. He was not limited by the original poet work. Nevertheless, he always broke the lines between the music types , and invented the new form for the content. Content and form are perfectly unified.
出处
《天津音乐学院学报》
2002年第2期12-17,共6页
Journal of Tianjin Conservatory of Music
