阿萨图尔扬芭蕾舞剧中音乐作曲原理的可视化:献给编舞家85岁生日

Nazenik Sargsyan
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摘要

2022年,我们将庆祝杰出的编舞家Ashot Asaturyan的85岁生日。这位编舞家离世已有23年之久,但从他的芭蕾录像来看,可以说他的创作心态和音乐、文学诠释的方法仍然是进步的、及时的。Asaturyan方法的另一个特点是复调原理的可视化。在《主题与变奏曲》这部为柴可夫斯基第三组曲压轴曲而创作的芭蕾舞剧中,这些原则具有内在的编舞功能,而在其他一些芭蕾舞剧中,这些原则具有戏剧意义。本文所分析的三部芭蕾舞剧的共同特点是其情节的复调性。这些芭蕾舞剧是莫里斯·拉威尔的《达芙妮与克洛伊》、伊戈尔·斯特拉文斯基的《奥菲斯》和谢尔盖·拉赫玛尼诺夫的《交响舞曲》。
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Visualization of Musical Composition Principles inAshot Asaturyan’s Ballets: Dedicated to the Choreographer’s 85TH Birthday
In 2022, we are celebrating the 85th birthday of outstanding choreographer Ashot Asaturyan. The choreographer died as many as 23 years ago, but judging from the videos of his ballets, we can say that his creative mentality and methods of musical and literary interpretation are still progressive and timely. One more peculiarity of Asaturyan’s method is visualization of polyphonic principles. While in Theme and Variation, a ballet created to the music of the Finale of Pyotr Tchaikovsky’s 3rd Orchestral Suite, those principles have an immanently choreographic function, in some other ballets, they are of dramaturgical significance. The common feature of the three ballets analyzed in this article is the polyphonic nature of their scenarios. Those ballets are Maurice Ravel’s Daphnis and Chloe, Igor Stravinsky’s Orpheus and Sergei Rachmaninoff’s Symphonic Dances.
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