【摘要】：羅西尼是意大利美聲學(xué)派新時(shí)期的代表性作曲家，他的主要成就在喜歌劇，而《塞維利亞的理發(fā)師》則是他喜歌劇的最高成就，本文從聲樂演唱專業(yè)研究生和演唱者的角度，對羅西尼的歌劇《塞維利亞的理發(fā)師》中女主角羅西娜這一音樂形象展開分析，從而進(jìn)一步了解作曲家在塑造人物形象時(shí)運(yùn)用的獨(dú)特的音樂表現(xiàn)手法和富于特色的音樂語言，本文將分為緒言、正文、結(jié)語三部分進(jìn)行論述。 第一部分是緒言，首先概述19世紀(jì)前期歐洲的社會背景和歌劇狀況，從而在人的歷史環(huán)境和背景下把握作曲家創(chuàng)作這部歌劇的動因與意圖。再分析歌劇體裁的發(fā)展進(jìn)程及這一特殊體裁的產(chǎn)生背景及羅西尼是如何發(fā)展了這。一他所擅長的體裁的。最后簡述作曲家的生平、創(chuàng)作道路及這一成熟之作的創(chuàng)作歷程，及簡述歌劇故事梗概。 第二部分展開對劇中人物羅西娜角色的分析，這是本論文的重點(diǎn)，將從五個(gè)方面來論述。從歌劇的故事情節(jié)和音樂中分析作曲家如何運(yùn)用豐富多樣的音樂于法體現(xiàn)喜歌劇的特殊風(fēng)格，并做到對人物性格的刻畫鮮明生動、栩栩如生、富典型性；羅西尼歌劇中的羅西娜和莫扎特筆下的羅西娜在角色塑造上的區(qū)別和比較；不同的歌唱家對詮釋這一人物的不同理解；羅西娜這一角色不同版本的比較。 第三部分是結(jié)論，總結(jié)羅西尼的喜歌劇風(fēng)格如何在羅西娜身上得到集中體現(xiàn)，羅西尼塑造這一典型形象運(yùn)用了哪些獨(dú)特的音樂手法，及其對歌劇發(fā)展的巨大貢獻(xiàn)。
[Abstract]:Rosini is the representative composer of the new era of the Italian Bel School. His main achievement is the happy opera, and the hairdresser in Seville is his highest achievement in the opera. By analyzing the musical image of Rossini's opera, hairdresser in Seville, the heroine Rosina, in order to further understand the unique musical expression and distinctive musical language used by composers in portraying characters, This article will be divided into the introduction, the text, the conclusion three parts to carry on the elaboration. The first part is the introduction, which first summarizes the social background and the opera situation in Europe in the early 19th century, so as to grasp the motive and intention of composer's creation of this opera under the historical environment and background of man. Then it analyzes the development process of opera genre, the background of this particular genre and how Rossini developed it. One of the genres he's good at. Finally, the life of the composer, the creation of the road and this rare's creative process, as well as a brief outline of the opera story. The second part analyzes the characters of Rosina, which is the focus of this paper and will be discussed from five aspects. From the story plot and music of opera, the writer analyzes how the composer uses rich and varied music to embody the special style of Xi opera, and to depict the characters' character vividly, lifelike and typical. The difference and comparison between Rosina and Mozart in the portrayal of the character; the different understanding of the interpretation of the character by different singers; the comparison of the different versions of Rosina. The third part is the conclusion. It summarizes how Rosini's opera style is embodied in Rosina, what unique musical techniques Rosini used to create this typical image, and his great contribution to the development of opera.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：J616

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前4條

1 張慧;美妙歌聲隨風(fēng)飄蕩[D];曲阜師范大學(xué);2011年

2 許揚(yáng);歌劇《費(fèi)加羅的婚禮》和《塞維利亞理發(fā)師》中費(fèi)加羅角色比較研究[D];河南大學(xué);2010年

3 周曉玲;羅西尼歌劇之花腔藝術(shù)探究[D];陜西師范大學(xué);2010年

4 汪蕾;《伊多梅紐》中埃萊特拉詠嘆調(diào)《哦，瘋狂！哦，暴怒！》的分析與演繹[D];南京藝術(shù)學(xué)院;2012年

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本文編號：2318265