德彪西《牧神午后前奏曲》的音乐修辞策略  

The Musical Rhetorical Strategy of Debussy's Preludes to L‘apres-inidi d’un Faune

作　　者：刘为叶 LIU Weiye(Department of Humanities and Management,Xi’an Traffic Engineering Institute,Xi'an 710300,China)

机构地区：[1]西安交通工程学院人文与管理学院,陕西西安710300

出　　处：《西安交通工程学院学术研究》2022年第2期75-79,共5页Academic Research of Xi'an Traffic Engineering Institute

摘　　要：受法国象征主义和印象派绘画的影响,印象派音乐在德彪西的创作中脱颖而出。其音乐突破传统的陈规,以迥然相异于传统观点和方法的方式创造出丰富的意象来隐喻、象征隐藏在事物背后的朦胧的音乐意象世界。《牧神午后前奏曲》是德彪西首部奠定其印象主义音乐风格的管弦乐作品,引用自马拉美的同名诗作《牧神午后》。本文以德彪西《牧神午后前奏曲》为例,从音响色彩和结构特点及诗歌文本等方面进行分析,探究德彪西运用偏离传统作曲技法(如流体运行、块状拼贴、散体形态以及结构聚合力等)和象征手法传递其深层意象与象征意义的重要修辞策略。Influenced by French symbolism and impressionist painting,Impressionist music stands out in Debussy's creation.Its music breaks through the traditional rules and creates rich images that are radically different from the traditional views and methods to metaphorize and symbolize the hazy musical image world hidden behind things.Preludes to Uapres-midi d'un Faune,quoted from Malame's eponymous poem Uaprds-midi d'un Faune,is Debussy's first orchestral work that laid the foundation for his impressionistic music style.Taking Debussy's Preludes to Uapres-midi d'un Faune as an example,which is analyzed from the sound color,structure features and the poetry text,such important rhetorical strategies deviating from the traditional composing techniques adopted by Debussy(such as fluid run,massive collages,repose of morphology and structure of convergence,etc.)and symbolism was explored to deliver its deep image and symbolic meaning.

关 键 词：德彪西 马拉美 《牧神午后前奏曲》 象征 音乐修辞 

分 类 号：J65[艺术—音乐]