Abstract

Gustav Mahler (1860-1911) culminated Austro-German symphonies, quoting the traditional essences and generating originality. In the coverall symphonic world, all of the styles and utterances interweaves together to absolutely demonstrate the colorful scenes. Relying on the method of intertextuality, the dissertation absorbs Mahler’s Symphonies into the analyzing scope and thoroughly interpret the integrated generic features and invisible symbolic implication throughout Mahler’s symphonies according to the intertextual references of musical texts, literary poetry texts, art painting texts and film music texts in history.

The dissertation is divided into two sections with seven chapters. Part one elaborates the characteristics of various kinds of genres, through referencing the relevant historic intertexts, it has further clearly analyzed the originality of the application of Mahler’s genres. Chapter One investigates the polarity of Mahler’s music gesture, i.e. the forward infinite dynamic and the backward remote serene, via instrumental music types of“March”, “Entombment music”, “Pastorale”and “Music from afar”; Chapter Two shows Mahler’s unique artistic conceptions and abundant fantasy of creative techniques in the perspective of dance music types of“Scherzo”, “Minuet”, “Ländler”, “Waltz” and “Dance of Death”; Chapter Three apperceives Mahler’s inner discourse and religious piety by concerning vocal music types of “Recitative”, “Arioso”, “Chorale”, “Hymn”and “Lieder” in succession. Part Two focuses on profoundly unscrambling the different types of musical signs, through awakening historical relevant intertexts, so as to thoroughly comprehends the symbolic significance of musical signs quoted by Mahler. Chapter Four rethinks Mahler’s Representation depiction about nature and the imagery creation of inner will, exploring his stylized art and aesthetic conception in constructing sound and structure by the perspective of birdcalls and fanfares; Chapter Five illuminates the expression of Mahler’s religious emotional ideology, the reality-illusion about human nature’s redemption and the ultimate ideal from sinking to transcendence focusing on the symbols of “heaven” and “inferno”;Chapter Six explains Mahler’s ultimate comprehension of destiny and aesthetic expression, introspects the tragic spirit that Mahler intends to control his life conquering the haze of fore ordination, tracking the traces of “Fate Rhythm”, “Destiny Chord” and “Death Sound”; Chapter Seven, with the theme of “Adagietto” and“Eternity Motif”, discloses Mahler’s confinding of love, interpreting his most private emotional sayings hidden in the two kinds of concealed motifs throughout the whole interlaced intertext system.

The dissertation’s study of Mahler’s symphonies derives from the three musical genres of instrumental music, dance music and vocal music, as well as the musical signs originating from nature, religion, destiny and love, which intends to explore the creative characteristics and artistic conceptions of Mahler’s music.The intertextual interpretation transcending discipline fetters and linear diachronic study is able to effectively communicate between music ontology and music content, expanding the scopes and routes of music analysis，accordingly achieving the openness and diversity of text significance to make the study into a level which has never been touched in traditional methods.

Key Words: Mahler Symphony Intertextuality Genre Sign Text Symbol Imagery.