十九世紀的維也納作曲家約翰施特勞斯二世（1825至1899），被冠以「圓舞曲之王」之美譽。他創作的舞蹈音樂超過 500首，包括圓舞曲，波爾卡，方舞舞曲，疾馳舞曲，馬祖卡舞曲，和進行曲等。他的成就不僅在於他致力，發揚自己的父親，約翰施特勞斯（1804至1849），和約瑟夫．立端（1801年至1843年）所建立了的音樂華爾滋圓舞曲傳統，也把華爾滋推至輕歌劇舞台上。不論在音樂或舞蹈上，華爾滋都是十九世紀時期在維也納最流行的娛樂之一。與此同時，輕歌劇亦日益普及。 / 這篇論文會考究約翰施特勞斯二世如何在輕歌劇中用華爾滋作為一個觀眾溝通的橋樑。這個流行的舞蹈和輕歌劇音樂，是一個完美匹配的結合，幫助去紀錄十九世紀的當代概況。然而，這個過程並不如一般人所想的簡單容易，因為隨著時間的洗禮，華爾滋經已經歷了不少的變化和發展，不但在音樂名及舞步上，還有不同身份階層人士對其的看法及的堅持及轉變，當中不乏攻擊和批評。因此，華爾滋是一個非常複雜的主題，要多角度的剖析才能充份了解華爾滋的意義，因為它擁有多樣的概念，並能夠分別向不同社會階層，性別，種族等人傳達不同的訊息。我的研究集中處理約翰施特勞斯二世的兩齣著名的輕歌劇去探討華爾滋的不同的含義，分別是《蝙蝠》(1874) 及《 威尼斯之夜》(1883)，從而了解十九世紀維也納的生活、社會、經濟及文化的意識形態。 / Johann Strauss II (1825-1899), the nineteenth-century Viennese composer, has been crowned “the waltz king“. He composed over 500 pieces of dance music, including waltzes, polkas, quadrilles, gallops, mazurkas, and marches. His achievements rest not only on his efforts to expand the musical traditions established by his own father, Johann Strauss, Sr. (1804-1849), and Josef Lanner (1801-1843), who were both dance composers, but also on bringing a genre of “light“ music to the stage via operettas. The waltz, both music and dance steps, was one of the most popular entertainments of the nineteenth century. At the same time, operetta gained in popularity. / In this thesis, I suggest that Johann Strauss II incorporated the waltz within operetta as a topos to communicate with his audiences. The combination of this popular dance and its music within operetta was a perfect match, resulting in a genre that profited from its catering to contemporary tastes. However, this process was not as simple and easy as one might think. Over time, the waltz has undergone many changes and developments in terms of its music, its dance steps and popular perceptions of it, as well as having faced attacks and criticism over the centuries in different countries. Hence, the waltz is a complicated topos as it served different functions and conveyed multiple layers of meaning to different people depending on their social class, gender, ethnicity and the periods in which they lived. To understand perceptions and receptions of the waltz, a multivalent approach is required when relating this musical genre to society. My research aims to identify the different meanings and functions of the waltz in two of Johann Strauss II’s most famous operettas, Die Fledermaus (1874), and Eine Nacht in Venedig (1883) and relate them to Viennese life and culture at the end of the nineteenth century. In other words, to make sense of the waltz in these operettas, and as a result better understand Viennese socio-cultural ideology through the lens of this light entertainment. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Li, Shuk Ming. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 120-126). / Abstracts also in Chinese. / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- Dance Topoi in the Nineteenth Century --- p.12 / Chapter Chapter 3 --- Waltz as a Metaphor of Escape in Die Fledermaus --- p.32 / Chapter Chapter 4 --- Waltz as a Metaphor of Life in Eine Nacht in Venedig --- p.70 / Chapter Chapter 5 --- Conclusion --- p.110 / Bibliography --- p.114
| Identifer | oai:union.ndltd.org:cuhk.edu.hk/oai:cuhk-dr:cuhk_328469 |
| Date | January 2012 |
| Contributors | Li, Shuk Ming., Chinese University of Hong Kong Graduate School. Division of Music. |
| Source Sets | The Chinese University of Hong Kong |
| Language | English, Chinese |
| Detected Language | English |
| Type | Text, bibliography |
| Format | electronic resource, electronic resource, remote, 1 online resource (33-102, 70-126 leaves) : music |
| Rights | Use of this resource is governed by the terms and conditions of the Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” License (http://creativecommons.org/licenses/by-nc-nd/4.0/) |
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