This paper explores the transformation process of Schiller's "Ode to Joy" from a poem to a song within Beethoven's Ninth Symphony, analyzing the complex relationship between the poem's original meaning and the various fixed interpretations formed through its musical dissemination.

1. Evolution of Meaning and Interpretation

The paper discusses the transformation of "Ode to Joy" within Beethoven's Ninth Symphony from poetry to music and the evolution of its meaning. On one hand, it is argued that Beethoven's composition amplifies specific aspects of Schiller's original poem, such as the various meanings attributed to it in different historical periods—including nationalism, revolutionary consciousness, and joyful optimism. Described by Nietzsche as the "gospel of world harmony," it embodies collective joy and belongs to "world musical literature." On the other hand, some contend that Beethoven's innovations render the poem's meaning incomplete and superficial, suggesting that his musical structure is unrelated to the textual meaning. This interpretation of the transition from "poem" to "song" extends beyond ordinary linguistics and falls within the domain of hermeneutics. Western hermeneutics evolved from a craft to a methodology and then to ontological hermeneutics. Gadamer proposed "fusion of horizons" and the "hermeneutic circle," emphasizing that understanding is a historical process. Beethoven's introduction and selective use of the poem may have utilized the clarity of its semantics to shape imagery. Analyzing the integrated form of poetic language and music aids in interpreting the music, though the standards and effectiveness of this integration are not clearly defined. From the perspective of contemporary hermeneutics, interpretation is a future-oriented construction of being, with the meaning of a text becoming enriched through the ongoing process of understanding.

2. Interpretation by the Creative Subject: "Joy" as the Spiritual Link in the Transition from "Poem" to "Song"

This section delves into the importance of interpretation by the creative subject in the transformation of "Ode to Joy" from a poem to a song, particularly how the theme of "joy" serves as the spiritual link connecting poetry and music. Schiller, as a "national poet," profoundly influenced the German youth and artists of his time, providing them with spiritual strength and creative inspiration. Schleiermacher's hermeneutics emphasized the combination of psychological and grammatical interpretation, aiming to immerse the interpreter in the author's spiritual world. Dilthey, from the perspective of the human sciences, argued that understanding a work should be based on the poet's imagination and experiential world, stressing the role of historical and cultural relations in interpretation. Betti and Ricoeur focused on the discrepancy between authorial intent and textual meaning, with Ricoeur introducing the concept of "distanciation," suggesting that textual meaning resides in its linguistic structure. Heidegger, from an existential viewpoint, emphasized that the process of understanding is influenced by the world we inhabit, proposing the notions of "pre-structure" and the necessity of circular understanding. Gadamer further refined the conditions for understanding, while Pan Derong and Xie Chengfeng highlighted that the author's original intent, the text's original meaning, and the reader's reception are the three essential elements of hermeneutics, positing an endless dialogue among them.

Schiller and Beethoven lived in Europe during the latter half of the 18th century, a period marked by a strong revolutionary atmosphere against feudal autocracy. Influenced by Enlightenment and liberal ideas, Schiller opposed feudal autocracy. The creative motivation for his "Ode to Joy" stemmed from the inspiration of friendship. The German word for "joy" (Freude) in the poem carries rich connotations, representing not merely an emotion but an attitude toward life or a set of values. Schiller elevated joy to a moral level, believing that only those possessing virtues such as morality, endurance, and forgiveness could truly experience joy. Beethoven was deeply influenced by Schiller's works, viewing his poetry as an embodiment of his own beliefs. In his symphony, he explored how to convey a similar depth of emotion through music. The melody of Beethoven's "Ode to Joy" has affinities with the "national anthem" of his time. He hoped to evoke through music a longing for moral and spiritual forces such as trust in humanity, forgiveness, reconciliation, and fraternity. Under the theme of "joy," Schiller and Beethoven formed a spiritual link. Their works are not only expressions of personal emotion but also explorations and attempts to define the modernity of German national culture.

3. Interactive Interpretation of Poetic Semantics and Vocal Semantics

This section explores the interactive interpretation between poetry and music in "Ode to Joy," revealing their interplay in multimodal dissemination. Schiller's "Ode to Joy" depicts a utopian ideal life encompassing elements like friendship, love, and drinking, with its creative inspiration drawn from social drinking experiences. In composing his Ninth Symphony, Beethoven, after long contemplation, incorporated select stanzas of "Ode to Joy" into the final movement. He conceptualized the poem's emotions and imagery through musical structure rather than merely "translating" it. Beethoven's composition not only preserved the poem's semantics but also enhanced the work's expressive power through the acoustic construction of the vocal parts. In the fourth movement of the Ninth Symphony, Beethoven skillfully employed bass, alto, soprano solos, and chorus to create rich sonic effects, simulating the conversational acoustics of social drinking songs. Simultaneously, through the gradual ascent of vocal ranges, he expressed the upward striving of the human spirit. In his poem, Schiller constructed a synthesized concept of divinity, including gods from Greek mythology, the monotheistic God of Christianity, and Dionysus, reflecting the era's new interpretations and constructions of spiritual power. Beethoven's music achieved a spiritual harmony with Schiller's poetry, collectively expressing humanity's yearning for an ideal life.

4. Comparative Interpretation of the Acoustic Structure of "Poem" and "Song"

This section delves into the comparative interpretation of acoustic structures in the transition of "Ode to Joy" from poem to song. It analyzes the recitation form of "Ode to Joy" as a social drinking song, highlighting the recitation methods of its stanzas and the characteristics of its poetic acoustic structure, such as the rhythmic patterns of trochaic meter and the aesthetic patterns of rhyme organization. It emphasizes that these structures provide the material foundation for the poem's musicality. Furthermore, it explains how Beethoven transformed the poem's prosodic logic into musical melody, replicating the metrical rhythm of poetic language through techniques like a stable quarter-note pulse and symmetrical, balanced phrase structures. Additionally, it cites scholars like Maynard Solomon to discuss the relationship between poetic meter and musical rhythm, as well as the differences among languages in aligning musical and textual rhythmic features. Finally, it points out that Beethoven's replication of Schiller's poetic meter in his melody composition not only expressed admiration for Schiller but also reflected a longing for the utopian realm advocated by the poet.

5. Conclusion

This section summarizes the transformation process of "Ode to Joy" from poetry to music, emphasizing that Beethoven's composition not only reflects the inherent connection between poetry and music but also, through the musical modality, expanded the work's dissemination and reception. It transcended linguistic, national, and cultural barriers, becoming a world-renowned artistic exemplar.