本文選題：《蒼原》 + 娜仁高娃��； 參考：《曲阜師范大學(xué)》2014年碩士論文

【摘要】：歌劇《蒼原》自1995年首演至今已近百場，這部由遼寧歌劇院創(chuàng)作、演出的歌曲是自新中國成立以來最具代表性的經(jīng)典歌劇之一。 這部作品取材于土爾扈特人不遠萬里，舉族東遷的故事，為了回歸祖國歷盡艱難險阻的愛國主義主題。歌劇《蒼原》以土爾扈特人為了回家克服種種危機為戲劇線索，將一個民族的一種期望，一絲眷戀表現(xiàn)的淋漓盡致。它以較小的篇幅呈現(xiàn)了重大的歷史事件，，不僅在在200多年前具有深刻影響，新中國成立之后改革開放的今天也體現(xiàn)了重要的現(xiàn)實意義。全劇是以蒙古族的音樂風(fēng)格貫穿始終，悠揚、濃烈的民族音樂旋律出現(xiàn)在歌劇的每個角落，在音樂設(shè)計和創(chuàng)作方法既體現(xiàn)了各種藝術(shù)形式的統(tǒng)一，又展示了歷史與現(xiàn)實、內(nèi)容與形式的完美結(jié)合。歌劇中的音樂離不開人聲的配合，音樂形式方面，《蒼原》中幾個主要人物的詠嘆調(diào)都異常精彩，本文主要通過對女主人公“娜仁高娃”音樂形象和藝術(shù)表現(xiàn)的分析，在前輩們對有關(guān)歌劇《蒼原》細致研究的基礎(chǔ)之上，進一步探索歌劇中女主人公的形象塑造和演唱技巧方面的藝術(shù)表現(xiàn)。 第一章筆者將從創(chuàng)作背景、作者簡介、音樂特征、創(chuàng)作特點和風(fēng)格特點四個方面對作品進行整體概括；第二章通過分析娜仁高娃演唱的詠嘆調(diào)歌曲，筆者具體闡述了女主公的音樂形象和她所具備的審美價值；第三章筆者通過分析幺紅的演唱技巧來著重闡釋娜仁高娃在故事中的藝術(shù)表現(xiàn)
[Abstract]:The opera Cang Yuan has been performed nearly 100 times since its opening in 1995. This song, composed by Liaoning Opera House, is one of the most representative classical operas since the founding of the people's Republic of China. This work is based on the story of the Tulghuit people moving eastward, a patriotic theme for the return of the motherland. The opera "Cangyuan" takes the Turhut people to overcome all kinds of crisis as the drama clue, a kind of expectation of a nation, a trace of sentimental expression incisively and vividly. It presents a significant historical event in a relatively small space, which not only had a profound impact more than 200 years ago, but also reflects the important practical significance today after the founding of New China. The whole play is a Mongolian musical style throughout, melodious, strong folk music melody appears in every corner of the opera, in music design and creative methods not only embodies the unity of various forms of art, but also shows the history and reality. The perfect combination of content and form. The music in opera can not be separated from the cooperation of human voice. In terms of music form, the arias of several main characters in "Cangyuan" are extraordinary. This article mainly analyzes the musical image and artistic expression of the heroine "Narengawa". On the basis of the detailed study of the opera Cang Yuan by the predecessors, this paper further explores the artistic expression of the heroine's image and singing skills in the opera. In the first chapter, the author generalizes the works from four aspects: the background of creation, the brief introduction of the author, the characteristics of music, the characteristics of creation and the characteristics of style. The second chapter analyzes the arias performed by Narengawa. The author elaborates the female lord's musical image and her aesthetic value in detail. The third chapter mainly explains the artistic expression of Narengaova in the story by analyzing her singing skills.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J822;J617.2

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