「托爾斯泰復活音樂」並非標準術語，但它很可能指的是受列夫·托爾斯泰小說啟發的音樂，或他本人喜愛的音樂。受其作品啟發的音樂包括弗朗哥·阿爾法諾和其他作曲家創作的歌劇《復活》，阿爾伯特·魯塞爾的交響詩《復活》，耶斯樂隊的歌曲《譫妄之門》，以及各種古典音樂改編作品，例如塞繆爾·阿德勒的《復活交響曲前奏曲》。托爾斯泰本人也是莫札特、蕭邦、海頓和貝多芬等作曲家的粉絲，這在《克魯採奏鳴曲》中有所體現。
基於托爾斯泰作品的音樂
您可以觀看此視頻，以了解更多關於托爾斯泰小說《復活》音樂改編的資訊：
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YouTube · 2021年4月21日
歌劇：弗朗哥·阿爾法諾的歌劇《復活》（1904年）和揚·齊克的《戰爭》（1960年）均改編自托爾斯泰的小說《復活》。德米特里·蕭斯塔科維奇也參與了一部未完成的歌劇改編作品《喀秋莎·瑪斯洛娃》。
管弦樂作品：美國交響樂團提到了塞繆爾·阿德勒的《復活交響前奏曲》（該曲使用了小說中的主題）以及阿爾伯特·魯塞爾1903年的交響詩《復活》。
其他作品：前衛搖滾樂團 Yes 創作了一首名為《譫妄之門》（1974 年）的長組曲，其靈感源自托爾斯泰的《戰爭與和平》。
托爾斯泰喜愛的音樂
喜愛的作曲家：托爾斯泰最喜歡的作曲家包括莫札特、海頓、蕭邦、巴赫、韋伯、舒伯特和早期貝多芬。
《克魯採奏鳴曲》：在他的中篇小說《克魯採奏鳴曲》中，他描寫了貝多芬的《克魯採奏鳴曲》對人類心靈的強大而震撼的影響。
托爾斯泰的音樂觀：他認為音樂是一種強大的力量，既能帶來崇高的洞察力，也能帶來非理性的行為，並對其組織人類情感的能力著迷。
"Tolstoy revival music" is not a standard term, but it likely refers to music inspired by Leo Tolstoy's novels or the music he enjoyed himself. Music inspired by his works includes the opera Resurrection by Franco Alfano and other composers, Albert Roussel's tone poem Résurrection, the Yes song The Gates of Delirium, and various classical adaptations like the Resurrection Symphonic Prelude by Samuel Adler. Tolstoy himself was a fan of composers such as Mozart, Chopin, Haydn, and Beethoven, as detailed in The Kreutzer Sonata. Music based on Tolstoy's works
You can watch this video to learn more about the musical adaptation of Tolstoy's novel Resurrection:
Operas:
Franco Alfano's opera Risurrezione (1904) and Ján Cikker's Vzkriesenie (1960) are based on his novel Resurrection. Dmitri Shostakovich also worked on an unfinished opera adaptation of Resurrection titled Katyusha Maslova. Orchestral works:
American Symphony Orchestra notes Samuel Adler's Resurrection Symphonic Prelude, which uses themes from the novel, and Albert Roussel's 1903 tone poem Résurrection. Other compositions:
The progressive rock band Yes created a long suite titled The Gates of Delirium (1974), which is inspired by Tolstoy's War and Peace.
Preferred composers:
Tolstoy's favorite composers included Mozart, Haydn, Chopin, Bach, Weber, Schubert, and early Beethoven. Tolstoy's view on music:
He saw music as a potent force, capable of both sublime insight and irrational acts, and was fascinated by its ability to organize human emotions.
Japan's all-female musical theater group Takarazuka Revue adopted the novel into musical twice. First in 1962 as "カチューシャ物語" (Katyusha's Story), performed by Star Troupe starring Yachiyo Kasugano;[16] and in 2012 as "復活 －恋が終わり、愛が残った－" (Resurrection – Love Remains After the Affair Ends)[17] performed by Flower Troupe starring Tomu Ranju. The plot Takarazuka Revue adapted follows more closely to We Live Again than the book.
本文探討俄國作家列夫‧托爾斯泰的最後一部小說《復活》（1899年）在1910年代早期殖民時期朝鮮半島的非凡成功。在回答《復活》在朝鮮半島殖民現代性中的意義這一主要問題時，我認為有必要考察精英階層和民眾對托爾斯泰小說的接受之間的相互作用，並將《復活》的不同朝鮮版本置於早期殖民統治的更廣闊背景中來考察，包括現代殖民媒體和大眾文化的發展、20世紀10年代文化領域的特殊性以及知識份子對現代民族文學的探索。 《復活》在早期殖民統治的關鍵時期傳入朝鮮半島，當時各種敘事形式和文化媒體並存並相互競爭，在李光洙的《無常》出現之前，文學在現代朝鮮文化中遠未享有特殊地位。因此，研究其接受情況可以為了解殖民時期初期現代小說與流行文化和現代媒體互動過程中的動態提供重要的見解。
Abstract
This article examines the remarkable success of the Russian writer Leo Tolstoy’s last novel, Resurrection (1899), in early colonial Korea of the 1910s. In answering the main question of the significance of Resurrection in Korea’s colonial modernity, I argue that it is necessary to consider the interplay of the elite and popular receptions of Tolstoy’s novel, as well as to place the various Korean versions of Resurrection within the broader context of early colonial rule, the development of modern colonial media and mass culture, the specificities of the cultural terrain of the 1910s, and intellectuals’ search for a modern national literature. Resurrection was introduced in Korea at a critical early period when various narrative forms and cultural media coexisted and vied with each other for influence, and when—prior to the appearance of Yi Kwangsu’s Mujŏng—literature was far from enjoying a privileged place in modern Korean culture. As such, an examination of its reception can provide important insights into the dynamics governing the emergence of the modern novel at the dawn of the colonial period in its interaction with popular culture and modern media.
Journal Information
The Journal of Korean Studies is the preeminent journal in its field, publishing high-quality articles in all disciplines in the humanities and social sciences on a broad range of Korea-related topics, both historical and contemporary. Korean studies is a dynamic field, with student enrollments and tenure-track positions growing throughout North America and abroad. At the same time, the Korean peninsula’s increasing importance in the world has sparked interest in Korea well beyond those whose academic work focuses on the region. Recent topics include the history of anthropology of Korea; seventeenth century Korean love stories; the Chinese diaspora in North Korea; student activism in colonial Korea in the 1940s; and GLBTQ life in contemporary South Korea. Contributors include scholars conducting transnational work on the Asia-Pacific
1915
日本謠（十二首並序）
明治初，黃公度有《日本雜事詩》之作，數千年歷史風教網括無遺義，至博也。然近年世變重繁，民風移易，迥非昔比古有其傳，今無其繼，非法也，於是乎《日本謠》作矣。
燈影星光綠上樓，如龍車馬狹斜遊。
兩行紅燭參差過，哄得珠簾盡上鉤。
（原注：提燈行列。）
百首清詞句欲仙，小倉妙選世爭傳。
憐他如玉麻姑爪，才罷調箏便數錢。
（原注：百人一首（小倉歌留多）。）
紈扇輕搖困倚牀，歪鬟新競趙家粧。
紅綃汗透香微膩，試罷菖蒲闢疫湯。
（原注：菖蒲湯（端午）。）
碧玉華年足怨思，珠喉解唱淨琉璃。
瓣香我為臨川爇，掩面傾聽幼婦詞。
（原注：《淨琉璃》，歌劇也，頗類我國之《牡丹亭》、《西廂記》等。）
名隸昭陽供奉班，宮詞巧制念家山。
劫來源氏人爭說，曾使君王一破顏。
（原注：《源氏物語》。）
蜃樓縹緲假疑真，四壁銅屏鏡裡春。
為語漢王休悵望，碧紗籠得李夫人。
（原注：活動寫真。）
紈扇秋來惹恨多，薰籠斜倚奈愁何。
商音譜出西方曲，腸斷新翻復活歌。
（原注：《復活》，乃俄文豪杜斯泰所著小說，也有譜成歌者，里巷爭唱之。）
掃眉才子眾三千，萬里橋邊起講筵。
羨煞傳經諸伏女，一時分得水衡錢。
（原注：女子高師。）
杏紅衫子白羅巾，高髻長眉解笑顰。
公子纏頭隨手擲，買花原為賣花人。
（原注：黃花日為十一月十日，良家女子皆出賣紙花曰：「為了苦事業也。」一紙花價三錢，所我不下數十萬。）
聞說仙槎徼外回，十輝妙占出新裁。
秦宮照膽懸靈鏡，此後難歌赤鳳來。
（原注：愛克斯光綫。）
黃昏好放看花船，櫻滿長堤月滿川。
遠岸微風歌宛轉，誰家篷底弄三弦。
（原注：荒川夜櫻。）
眉藏愁意額塗黃，廣袖纖腰燕尾粧。
十五雲英初見世，猶羞向客喚檀郎。
（原注：吉原初見世。）
Resurrection public domain audiobook at LibriVox
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