尼采《悲剧的诞生》中音乐形态的演变与音乐精神的发展  

The evolution of musical form and the development of musical spirit in Nietzsche's The Birth of Tragedy

作　　者：张雅婷 ZHANG Yating(School of Literature,Shaanxi Normal University,Xi'an 710062,China)

机构地区：[1]陕西师范大学文学院,西安710062

出　　处：《运城学院学报》2023年第5期27-32,共6页Journal of Yuncheng University

摘　　要：尼采将音乐视为艺术的最高形式,视为一切艺术的母胎。在《悲剧的诞生》中,尼采完整地勾勒了音乐形态和音乐精神的演变历程。以音乐形态为着眼点,结合不同时期酒神精神与日神精神关系的变化,可以将《悲剧的诞生》中音乐形态的发展历程主要分为民歌与抒情诗、酒神合唱歌队与悲剧,以及现代歌剧三个阶段,各个阶段音乐形态的演变反映了音乐精神兴盛衰微的变迁;而从尼采对瓦格纳音乐戏剧前后期态度的转变中,又可以见出尼采对重振音乐精神的不断探索与尝试。Nietzsche regarded music as the highest form of art and the mother of all art.In his The Birth of Tragedy,Nietzsche completely outlines the evolution of musical form and the spirit of music.Based on the musical form and the changes of the relationship between Dionysian spirit and Apollo spirit in different periods,the development of musical form in The Birth of Tragedy can be divided into three stages:folk song and lyric,Dionysian chorus and tragedy,and modern opera.The evolution of musical form in each stage reflects the vicissitudes of musical spirit.From the change of Nietzsche's attitude towards Wagner's musical drama before and after,we can see Nietzsche's constant exploration and attempt to revive the spirit of music.

关 键 词：《悲剧的诞生》 音乐形态 音乐精神 

分 类 号：J609[艺术—音乐]