長久以來，藝術的題材取自於神話、童話、傳說、歷史、或異國素材等等，當弗洛伊德發表《夢的解析》（Traumdeutung, 1900）後，世紀末的維也納藝術文學領域，紛紛借用權威的心理分析理論，擴展個人創作視野。在這股跨界相互切磋的交流氛圍下，歌劇這個樂種，顯然也受到相當衝擊，其中所反映出該時代的跨學科現象正是本文研究起點。文中將以下列三點進行討論：首先介紹作曲家許瑞克（Franz Schreker,1878-1934），透過他最成功的歌劇《遠方的聲音》（Der ferne Klang, 1912 年首演），簡述他一生的創作歷程。然後詳細說明該劇劇情，並提出現有學術研究文獻，來統整戲劇層次內的男女心理面向；最後以音樂分析第一幕結束前的女高音獨唱段落〈森林場景〉（Die Waldszene），端看作曲家如何受到夢境研究影響，藉此呼應成為個人音樂語彙，並突顯《夢的解析》如何衝擊歌劇題材，呈現其所帶來的面貌。有鑒於創作題材的延伸，音樂作品表面的故事之外，已埋藏了更多的隱喻，也提供接受者更大的詮釋空間；由於許瑞克歌劇標題《遠方的聲音》，暗示著許多層次的交結，其象徵涵意將作為本文的思考源頭，並透過觀看音樂與夢境的相關元素及其交集，來透視「現代音樂」（Moderne Musik）
發展所留下的烙印。

The publication of Sigmund Freud's The Interpretation of Dreams in 1900 had a transformative impact on art and literature of the Fin de Siècle, with artists finding new sources of inspiration in the universe of unconscious forces. The composers of that time in particular drew heavily on the methods and findings of psychoanalysis in order to bring new thematic substance to their opera. This constellation of art and science forms the point of departure of my paper.The first part of this paper has three main sections: first, an overview of Schreker and his work. The second part focuses on the new narrative possibilities in opera that were enabled by the practice and discoveries of psychoanalysis.Finally, the third part turns directly to Schreker’s opera Der ferne Klang, to
examine how Schreker used music at the end of the first act – ‘Die Waldszene’ – to reflect and express the content of dreams.The title of the Schreker’s opera Der ferne Klang is suggestive of a range of
sophisticated meanings and themes. The second part of this paper attempts to identify and explain the symbolic elements in the plot, text, and orchestration of the opera that directly relate to the ambiguous associations of the title. It also attempts to demonstrate the depths of influence that Freud's work exerted on this Fin de Siècle opera, through a demonstration of its role as a force of innovation, renewal,and creativity in the history of “modern music”.