本文以中西方音乐思维不同这一特点作为切入点，选取了以中西方经典的爱情故事作 为素材改编的经典歌剧作品《凯普莱特与蒙太古》和越剧作品《梁山伯与祝英台》进行分 析，并对两部剧目进行比较性研究。在对研究内容进行整体剖析之后，着重分析为表达爱 情悲剧这一结局，两部剧目所使用的相同或者不同的表现手法。以及这些表现手法都是如 何进行表现的，分别起着怎样的作用，会产生怎样的影响。最后对上述内容进行汇总归纳 与总结。

全文共分为四大章节，分别从剧目音乐创作溯源、本身表现手法、音乐与语言和表演 表现形式的比较，进而了解在音乐思维中，这两部歌剧是如何产生表达方式上的差异与一 致性。

中西方音乐思维的不同，很大程度是由于文化差异而产生的，是当文化进行多维度辐 射之后，音乐产业所发酵产生的思想层面的附属品。音乐思维方式的不同，最显著的变化 就是对于音乐的处理方式不一致。本文正是抓住了此因果关系，试在同为爱情悲剧故事的 两部剧目之中，挖掘最为引人注目之处。

This is an article that from the perspective of different Chinese and Western music thinking to compare adapted classic opera I Capuleti e Montecchi and the Yue opera Butterfly Lovers. And the author selected classical Chinese and Western love stories materials to tell the love tragedy story. It is an analysis and comparative study of both two plays. After an overall analysis of the research content, the author focuses on the same or different expressions that used in the two plays to express love tragedy. And how these expressions are performed, what role they play, and what impact they will have. Finally, the author summarized the above contents.

The full text divided into four chapters. From the source of the musical composition of the repertoire, their own expressions, the comparison of music and language and performance: including the background, theme, text, character shaping, scenario arrangement and music syllabus creation. Etc. Then people can fully understand the differences and consistency of these two classic dramas in the aspect of expression.

The most important reason of differences between Chinese and Western music thinking is due to the different culture. And it is the ideological accessory produced by the music industry after culture has multi-dimensional radiation. The most significant change in the way of thinking about music is the inconsistent way of handling music. This article grasps this causal relationship and tries to find the most striking point in the two plays that are also the tragic stories of love.