In his symphonic poems Franz Liszt integrated musical topics(conventional musical signs or gestures),literary programs,and innovative musical forms.Prometheus and Tasso exemplify Liszt’s reliance on such programs and...In his symphonic poems Franz Liszt integrated musical topics(conventional musical signs or gestures),literary programs,and innovative musical forms.Prometheus and Tasso exemplify Liszt’s reliance on such programs and the"marked"gestures of musical topics.Through these hermeneutic aids,the listener is guided to imagine dramatic situations involving the fi gures of Prometheus and Tasso.In"musical"terms,however,Prometheus’s"redemption"may be hardly distinguishable from Tasso’s"victory,"as each relies upon similar musical gestures.How then does Liszt distinguish the depiction of Prometheus’s character from that of Tasso?This article examines the techniques Liszt used to create discrete plots and subjects by analyzing formal deviations from the symphonic tradition and the relationship among literary programs,musical topics,and narrativity.The distinctive plots of Prometheus and Tasso result from the appearance of"marked"musical gestures within displaced formal sections.Musical narrativity thus relies on both the correlation and tension between musical topics and innovative formal plans.In this sense Prometheus and Tasso illustrate a"linguistic model"of program music.展开更多
作曲家李斯特的音符与诗人彼特拉克的诗歌相结合,音乐与文学的碰撞成就了李斯特第一部歌曲集——《彼特拉克的三首十四行诗》(Tre Sonetti di Petrarca)。作为其早期的声乐作品,无论从音乐性还是学术性方面都具有极高的研究价值,文章以...作曲家李斯特的音符与诗人彼特拉克的诗歌相结合,音乐与文学的碰撞成就了李斯特第一部歌曲集——《彼特拉克的三首十四行诗》(Tre Sonetti di Petrarca)。作为其早期的声乐作品,无论从音乐性还是学术性方面都具有极高的研究价值,文章以该作品的创作背景、曲式结构、调式调性、钢琴伴奏等音乐特征为基础进行分析,探索作曲家如何将音乐与诗歌进行高度的融合以及钢琴伴奏在歌曲中的作用。研究发现,李斯特作曲技法的独特之处在于:在传统浪漫主义时期作曲技法的基础上加入“频繁的调性变化、模糊的调性感、非功能性和声的使用”等近现代时期才会使用的作曲技法,在歌曲中使用“wordpainting”技巧,用音乐表现诗歌,细致地描写了诗的内容。同时,李斯特通过其高超的钢琴演奏技巧进一步提高了钢琴伴奏在歌曲中的地位。展开更多
文摘In his symphonic poems Franz Liszt integrated musical topics(conventional musical signs or gestures),literary programs,and innovative musical forms.Prometheus and Tasso exemplify Liszt’s reliance on such programs and the"marked"gestures of musical topics.Through these hermeneutic aids,the listener is guided to imagine dramatic situations involving the fi gures of Prometheus and Tasso.In"musical"terms,however,Prometheus’s"redemption"may be hardly distinguishable from Tasso’s"victory,"as each relies upon similar musical gestures.How then does Liszt distinguish the depiction of Prometheus’s character from that of Tasso?This article examines the techniques Liszt used to create discrete plots and subjects by analyzing formal deviations from the symphonic tradition and the relationship among literary programs,musical topics,and narrativity.The distinctive plots of Prometheus and Tasso result from the appearance of"marked"musical gestures within displaced formal sections.Musical narrativity thus relies on both the correlation and tension between musical topics and innovative formal plans.In this sense Prometheus and Tasso illustrate a"linguistic model"of program music.
文摘作曲家李斯特的音符与诗人彼特拉克的诗歌相结合,音乐与文学的碰撞成就了李斯特第一部歌曲集——《彼特拉克的三首十四行诗》(Tre Sonetti di Petrarca)。作为其早期的声乐作品,无论从音乐性还是学术性方面都具有极高的研究价值,文章以该作品的创作背景、曲式结构、调式调性、钢琴伴奏等音乐特征为基础进行分析,探索作曲家如何将音乐与诗歌进行高度的融合以及钢琴伴奏在歌曲中的作用。研究发现,李斯特作曲技法的独特之处在于:在传统浪漫主义时期作曲技法的基础上加入“频繁的调性变化、模糊的调性感、非功能性和声的使用”等近现代时期才会使用的作曲技法,在歌曲中使用“wordpainting”技巧,用音乐表现诗歌,细致地描写了诗的内容。同时,李斯特通过其高超的钢琴演奏技巧进一步提高了钢琴伴奏在歌曲中的地位。
