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歌剧作为一门综合艺术是文化、音乐、舞蹈、美术、戏剧等的结合,而在艺术分类中它又往往归类于音乐。在歌剧艺术中,音乐总是占有着主导地位,它吞并着文化。在文化母本向歌剧剧本的转变过程中,文化母本变得支离而破碎,故事情节变得零散而不完整,情感场景成了表现的中心,但也正在这种同化和异变过程中,文化与音乐的言说优势实现了整合,产生了一种新的审美素质。诚然有过“戏剧的音乐形式”或“音乐的戏剧形式”的论争,但人们不得不承认,音乐的巨大感染力在歌剧组合中无往而不胜,占有着主导地位。因此,本文由此探讨了其在同化中的异变原则。
Opera as a comprehensive art is a combination of culture, music, dance, art, drama, etc., and in the art category it is often classified as music. In opera art, music always dominates, embracing culture. During the transformation of the cultural mother-to-opera script, the cultural mother became fragmented and the story became fragmented and incomplete, and the emotional scene became the center of expression. However, in the process of assimilation and mutation, The integration of the advantages of culture and music has produced a new aesthetic quality. It is true that there has been a debate over “the musical form of the play” or “the musical form of the music,” but people have to admit that the immense appeal of music prevails in the opera portfolio. Therefore, this article explores its principle of mutation in assimilation.