碩士 / 國立台北師範學院 / 教育政策與管理研究所 / 92 / A B S T R A C T
Cantata, in contrast to Sonata, was primarily a generalized term of works of vocal music that were developed in baroque period into “a composition of several movements by means of linked successive songs”. In the second half of the 17th century, it had further become the most important vocal music work among the Italian secular ones. By the end of the 18th century, the same had even extended its influence upon other European countries, particularly, France and Germany. Until present, the concept of “a composition of several movements in a vocal music work by means of linked successive songs” retains its continuous influence upon many composers.
In the history of music, immortal works of Cantata were handed down ever by many great composers. Works by Alessandro Scarlatti (1660-1725) had made the Chamber Cantata reach a historic peak, while the huge quantity of Cantata presented by Johann Sebastian Bach (1685-1750) was great in artistry and solemnly religious, making Cantata even a sacred music.
The theme of “Arianna a Naxos” by Joseph Franz Haydn (1732-1809) was based on the story of Ariadne, the Cretan princess in Greek mythology. To composers, this touching Grecian tragedy remained lastingly an extreme attraction, e.g., from “Arianna” in the opera of Claudio Monteverdi (1567-1643) in Renaissance to single-act opera, “Ariadne auf Naxos”, by Richard Strauss (1864-1949) in the 20th century, the story was likewise the theme.
Completed in 1789, the Cantata of “Arianna a Naxos” was Haydn’s most favorite vocal music work. The Solo Cantata carried on the “lamento style” in Italian tradition to express substantially the innermost female feeling, the agony of love. Through Haydn’s exquisite and profound mode of composition, “Arianna a Naxos” was invariably turned into a treasure beyond evaluation in the tradition passed and gone.
This report includes the life of and summary introduction to the creative background, music characteristics, analysis and translation of music of Haydn’s “Arianna a Naxos ”. Through the documentary study and analysis, the author wishes to have a much more profound and overall understanding of “Arianna a Naxos ” in order to feature the most perfect translation in actual singing performance.
I am particularly indebted to my directive Professor Shang-Fen Chyou in making this report possible and appreciative of her immense patience with me to point out flaws in my report, direct me to stay on the right course of envisaging, and inspire me a good lot in musical translation. Moreover, I would like to thank Mme. Chia-Ling Yang, teacher of Chien Kuo Senior High School, for her consultation on musical analysis; Mme. Li-Ching Yuan and Mme. Juei-Yun Wu, teachers of Yeon Chien Primary School for their persisting directions in handling data of foreign languages; Mr. Yu-Ming Huang for his technical guidance in music score treatment; and lastly the tolerance and assistance given me by my beloved husband.
The process of research and learning is indeed painstaking. Renders are to be seen gradually in complications and accumulated slowly little by little. It is though a joy to welcome the results, the greatest compensation of all still comes from one’s acquirement of a much deeper feeler as well as a broader vision in the passage.
| Identifer | oai:union.ndltd.org:TW/092NTPTC576065 |
| Date | January 2004 |
| Creators | Ai-Yeh Wang, 王愛業 |
| Contributors | Shang-Fern Chyou, 裘尚芬 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 57 |
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