文档介绍：摘要交响幻想曲《霸王别姬》是作曲家关峡为筝、箫、女高音与管弦乐队而创作的一部交响作品。作曲家引用梅兰芳演唱的京剧《霸王别姬》里唱段《看大王在帐中和衣睡稳》中的部分旋律为素材,将西方曲式与东方叙事结构有机结合,成功地把中国传统器乐、京剧唱腔融入西方交响思维之中,既保留了京剧原有的韵味,又使得音响更加丰富,情感的表达更为强烈。本文从创作的角度对这首幻想曲进行分析和研究,试图了解作曲家的创作手法和创作理念,探究作品的“主流音乐文化”特征。全文共分三章:第一章着重介绍了作品的创作背景和整体艺术构思,主要概述了这首作品的创作动机和过程,又从整体上概括了作品全新的创作理念及艺术特征;第二章是创作手法和艺术特征,是文章的主体部分, 主要从音乐素材、和声材料、复调技法、配器手法,以及音乐结构等五个方面进行具体的分析和研究。剖析了作曲家在对待传统与现代,内容与表现,以及在处理中西不同音乐技法上的共性与个性;第三章在音乐本体分析的基础上,归纳了作品的音乐语言特色与艺术上的创新,并进一步阐述了作品的“主流音乐文化”特征等。关键词:关峡,交响幻想曲《霸王别姬》,创作手法, “主流音乐文化”特征 iv Abstract Farewell My Concubine is one of the masterpieces by Guan Xia, the renowned poser. This Symphonic Fantasia was posed for the orchestration of stringed Chinese zither, the vertical bamboo flute, the orchestra and soprano. Its materials are taken from melodies of Watching the Overlord in Sound Sleep in His Clothes and in his tent , an aria in Farewell My Concubine ,a Beijing opera originally sung by Mei Lanfang. bined the western musical form with the eastern narrative structure, and thus essfully integrated the traditional Chinese instrumental music, as well as the aria melodies in Beijing opera, with the western symphonic thinking. By this means, the retention of Beijing opera ’s charm, enrichment of the acoustics and intensification of emotions are achieved. From the perspective position, the writer implements analysis and research tools to find out position techniques and ideas, present in the Fantasia in question, and explore its features in mainstream musical culture. There are three chapters in this thesis. Apart from the introduction of position background and overall artistic conception, the first chapter is devoted to the overview of position motives and process, as well as the brand-position ideas and artistic characteristics in it. As the main body of the thesis, the second chapter is about position techniques and artistic characteristics of this symphony. By analyzing its five aspects, . the musical material, harmonic stuff, polyphonic techniques, orchestrat