Research On The Identity Of The Dramatical Structure And Musical Structure In Opera

As a theoretical category,"the identity of the dramatical structure and musical structure in opera",specifically refers to the unity of the operatic dramatic structure and the musical structure.Its connotation is that dramatic structure takes the musical structure as a reference,and the musical structure is based on the dramatic structure."the identity of the dramatical structure and musical structure in opera" are mutually transformed,constrained,and premises each other;"the identity of dramatical structure and musical structure in opera" is based on the principle of "unity of content and form" in classical aesthetics,reflects the unity of the content and form of Marxist historical dialectical materialism,and has a certain philosophical foundation.The proposal and theoretical construction of "the identity of the dramatical structure and musical structure in opera" have both historical logic based on the relationship of drama and music in Western opera and practical logic based on the current development status of Chinese opera.In the history of opera,different genres and themes of opera also rely to varying degrees on the relationship of content and form in their structure,that is,the unity of drama and music,and then present the identity,alienation,and deviation of dramatical structure and musical structures,ultimately presenting different forms of dramatical expression,which becomes the identification feature of different genres and forms of opera,or a representation of the universality or nationality of opera.The relationship of dramatical structure and musical structure in opera is the relationship of content and form,that is,the relationship of identity,alienation,and deviation,but overall it is also embedded in the unity of opera,which contains both drama and music.The historical logic of "the identity of the dramatical structure and musical structure in opera" is manifested in the historical development of the relationship of drama and music in Western opera.The historical logic of "A(alienation)-B(identity)-A ’(alienation)" coincides with the philosophical concept of "irrationalism-rationalism-anti rationalism",reflecting the inherent connection between philosophy and operatic development.This indicates the tortuous development of the relationship between operatic drama and music in the philosophical view of negation and negation.Chinese opera is the result of the localization of Western opera,but at the same time,it also has its own laws.Although the relationship between drama and music is not lacking in identity,it is generally alienated.Therefore,the proposal and theoretical construction of "the identity of the dramatical structure and musical structure in opera" originated from the historical development of Western opera for over 400 years,but focused more on solving the problem of alienation between drama and music in Chinese opera,originating from the problem awareness of Chinese opera.The theoretical construction of "the identity of the dramatical structure and musical structure in opera" must follow the principle of classical aesthetics that unifies content and form,return to "musical drama",reconstruct "operatic thinking",and have the theoretical assumption of creating an "ideal opera".This is the theoretical logic of "the identity of the dramatical structure and musical structure in opera".The realization of "the identity of dramatical structure and musical structure in opera" lies in constructing the relationship of drama and music from three dimensions: the development of the story plot(surface),the unfolding of dramatical contradictions(line),and the conflict of dramatical contradictions(point).For the so-called "ideal opera","the identity of the dramatical structure and musical structure" lies in constructing the unity between dramatical structure and musical structure,so that the relationship of drama and music is in the best state of consistency,that is,the perfect unity of content and form.This is in the structural design of opera of "full singing" opera seria style,where the overall layout of the musical structure is consistent with the "beginning,development,climax,and ending" of the dramatical structure and the "construction,development,intensification,and resolution" of the dramatical contradictions contained therein,thereby presenting "the identity of the dramatical structure and musical structure in opera",reflecting the essential attribute of opera as a "musical drama" and "expressing drama with music"."the identity of the dramatical structure and musical structure in opera" is not only the "identity" in the macro structure of opera,but also the "identity" in the meso structure and micro structure.Among them,the "identity" in the macro structure,as the most important and important "identity",can only be a "identity" in the opera of "full singing" opera seria style.This kind of "identity" in the macro structure of the entire opera is exactly the "identity" in the "ideal opera" envisioned in this article.As for the identity of the meso structure and the micro structure,it can appear in any type of operatic structure,such as the act’s structure,scene’s structure,and number’s structure."the identity of the dramatical structure and musical structure in opera",as a theoretical category,ultimately boils down to a structural issue,but is closely related to the dramatical nature of operatic music itself(the conflict of operatic music)and the operatic narrative.This means that if the operatic music itself is not dramatic,and there is no drama in the operatic narrative,"the identity of the dramatical structure and musical structure in opera" and the so-called "ideal opera" are just empty words.In opera composition,in order to achieve "the identity of the dramatical structure and musical structure in opera",it is also necessary to attach importance to the operatic music and adhere to the composer’s principal position.The proposal and theoretical construction of "the identity of the dramatical structure and musical structure in opera" come from the historical examination of Western opera and the practical observation of the current situation of Chinese opera compositon,which also includes a conscious awareness of the construction of operatic theory."the identity of the dramatical structure and musical structure in opera",as a concentrated embodiment of the unity of drama and music,belongs to the classical aesthetic principle of unity of content and form.This is also the most fundamental aesthetic principle in operatic composition.In short,"the identity of the dramatical structure and musical structure in opera" is the ideal state of operatic structure;The embodiment of "the identity of the dramatical structure and musical structure in opera" is an important way to compose the ideal opera.