理查施特劳斯是十九世纪与二十世纪之交德奥音乐体系的代表人物，他在二十世纪最后二十年创作的七部交响诗早已使其成为世纪末欧洲乐坛的先锋派人物。然而，进入二十世纪后，施特劳斯的创作技法似乎出现了倒退，以至于史学家们的评价褒贬不一，甚至非难多于赞扬。不仅如此，他停止了对交响诗体裁的继续写作，将精力更多的投入到了歌剧领域，在音乐与戏剧的融合中理查施特劳斯在音乐技法上停止了探索的步伐，在音乐与戏剧的形式设计上却仍是独具匠心，其歌剧中重唱的设置便是如此。本文以其二十世纪前三十年的三部歌剧代表作品《玫瑰骑士》、《阿里阿德涅在纳克索斯》、《阿拉贝拉》的重唱唱段为研究对象，试图从唱段间音乐本体上的联系、唱段间戏剧设置上的联系分析、探寻施特劳斯歌剧中重唱设置的规律和特点，以此从更宏观的角度审视其歌剧美学，从而解读施特劳斯歌剧的独特意蕴。本文共分为五大章。第一章为导论，主要是对选题的研究意义的阐释以及国内外研究现状的梳理。第二章是对三部歌剧创作缘由、创作过程、演出后的反响或剧评进行的梳理，主要运用文献法对三部歌剧的历史发展做一番简要的介绍。第三章主要运用音乐分析法对三部歌剧重唱唱段的音乐材料、人声旋律特性以及相互关系、人声旋律与剧诗、人声旋律与乐队进行音乐创作技法上的剖析。第四章主要运用符号戏剧学原理对重唱的出现位置、重唱在戏剧进程中的作用、重唱的戏剧效果、重唱的人物安排进行解析。最后一章将对施特劳斯哲学美学观的发展道路进行解析，这也是在综合第二章和第三章的技术分析结果之上对由其重唱显示出的歌剧美学的观照，另外，笔者试图将施特劳斯的歌剧与莫扎特和瓦格纳的歌剧进行形式上的比较，由此显示出重唱之于施特劳斯歌剧形式美的重要作用，这种宏观上的审视和解读将有助于从多视角重新解读二十世纪以后施特劳斯的创作以及观念，从而对重新定位他在音乐史上的地位和作用起到一定的帮助。

Richard Strauss was a leading composer of late German-Austria School between the end of 19th century and first half of 20th century. His seven tone poems which built his fame of the world was composed in the last 20 years of 19th century. Nevertheless, he moved his attention to operas after the coming of 20th century.The element of Avant-garde technique missed when his opera eclipsed other forms , but the innovation of operatic form was still carrying on and one element of the innovation was ensembles of his opera which is the research objection of the dissertation bases on three operas which is Der Rosenkavalier, Ariadne auf Naxos and Arabella composed in the first 3 decades of 20th century. The research points are the relationship between music and text,the tention of each ensemble, the character of ensembles and the aesthetics of Richard Strauss’s operatic ensembles in order to decode the innovations of his operas. The thesis concludes five parts. The first chapter is a preface to show the research significance and the present condition of research of Richard Strauss. The second chapter attempts to introduce the compositional process and part of critiques of these three operas.The third chapter analyses the musical techniques from four dimensions: the musical themes, characters of vocal melodies, vocal melody and the text, vocal and the orchestration.The fourth chapter decode the dramatic influence of ensembles through the methodology of the Symbolic Theater .The last chapter analyzes the development of Richard Strauss’s aesthetics, at the same time , it reveals the aesthetic complex of the ensembles based on the analysis of the previous three chapters. In addition, the comparison of Richard Strauss’s operas and Mozart’s or Wagner’s operas which exhibits the function of his opratic ensembles is also the core of this part. The macroscopic interpretation of Richard Strauss’s operas is helpful to decode his compositional conception of 20th century and repositioning his status of musical history.