「瘋狂」 (madness) 在音樂中的表現自十九世紀以來便在歌劇的「瘋狂場景」 (mad scene) 中不斷的上演,其悽美的表達反映了人們對瘋人的同情和浪漫的想像,然而以「瘋狂」的主角為創作題材的作品卻於十九世紀末在理查•史特勞斯 (Richard Strauss, 1864-1949) 的音樂中發生轉變;從純器樂的《唐吉訶德》 (Don Quixote) 到歌劇《莎樂美》 (Salome) 和《伊萊克特拉》 (Elektra) ,反映的不只是史特勞斯的作曲風格發展歷程,同時也是整個大時代對「瘋狂」概念的微妙轉變。本論文之研究,首要探討的就是「瘋狂」的意象在歐洲的發展與轉化,以進而討論史特勞斯在這樣的思想氛圍中,如何透過音樂來表達「瘋狂」的素材;研究範圍則以《唐吉訶德》、《莎樂美》和《伊萊克特拉》三部作品為主,並針對其中所涉及的瘋狂的議題進行探討。
Madness has appeared repetitively as the “mad scenes ” in the operas since the 19th Century. It reflects on people’s sympathy and the romantic image toward madness. A significant change in the theme of madness occurred in the music of Richard Strauss (1864-1949) at the late 19th century. From the instrumental music Don Quixote to the operas Salome and Elektra, it not only reflects the transition in Strauss's style, but also the delicate changes of the concept of madness of that generation. This thesis will first be focused on the development of the concept of madness in European history, and further to discuss how Strauss presents his version of madness in his music. The research will mainly be focused on the Don Quixote, Salome, and Elektra with detailed discussion on the presence of madness in them.