歌剧《奔月》结构分析  

Structure of the Opera Benyue(Flying to the Moon)

作　　者：徐文正 Xu Wenzheng

机构地区：[1]温州大学音乐学院,温州325000

出　　处：《音乐文化研究》2025年第1期16-27,共12页Music Culture Studies

摘　　要：《奔月》是国内首个联套歌剧《山海经》的第二部。此剧运用了“情绪布控,音乐填充”的结构原则:戏剧上以人物不同阶段的情绪呈现形成结构支点,音乐借鉴了瓦格纳“主导动机”的手法赋予抽象的音符以形象性和指向性,将戏剧提供的各种显性及隐性元素进行了展开。音乐与戏剧结合形成的“场面”布局呈现抒情性为主的特点,作曲家综合运用了“主导动机的贯穿与发展”“抒情场面次级结构中内部冲突性的揭示”“独立器乐段落的冲突性呈现”等手法,以营造结构所必需的张力场,使作品的结构得以完整呈现。"Benyue"(Flying to the Moon),composed by Bao Yu and librettized by Zhou Haihong.is the second part of China's first series opera "Classic of Mountains and Seas".The opera utilises different emotions at various stages of the characters and Wagnerian's "leitmotif" techniques to bring vividness and directionality.The "scene" of the opera emphasizes lyricism.The composer employs techniques such as "leitmotif development," "internal conflict within lyrical scenes," and "contrasting representations in instrumental sections" to create the necessary structural tension,enabling the work to unfold cohesively.

关 键 词：奔月 歌剧结构 场面 张力 凝聚力 

分 类 号：J643.2[艺术—音乐]