本文選題：蒼原 + 娜仁高娃��； 參考：《內(nèi)蒙古師范大學(xué)》2011年碩士論文

【摘要】：歌劇《蒼原》自1995年由遼寧歌舞劇院創(chuàng)作、演出至今,已經(jīng)成為中國(guó)具有代表性的經(jīng)典歌劇之一。它取材于土爾扈特人萬(wàn)里東歸的曲折故事。土爾扈特人歷盡艱險(xiǎn)、舉族東遷回歸祖國(guó)的愛(ài)國(guó)主義主題,在當(dāng)前形勢(shì)下也具有深刻的現(xiàn)實(shí)意義。歌劇《蒼原》以較短的篇幅,藝術(shù)性地重現(xiàn)了土爾扈特部東歸這一盛大的歷史事件,把土爾扈特人面臨的種種危機(jī)作為戲劇的重點(diǎn),將渴望自由、追求尊嚴(yán)和對(duì)祖國(guó)深切的眷戀作為主題。在全劇的音樂(lè)設(shè)計(jì)上是以蒙古族音樂(lè)風(fēng)格貫穿始終,在創(chuàng)作方面體現(xiàn)了多種藝術(shù)形式的統(tǒng)一、歷史與時(shí)代的結(jié)合、內(nèi)容與形式的調(diào)和的創(chuàng)作特點(diǎn)。在音樂(lè)上《蒼原》展示了一個(gè)凝重雄渾、悲壯濃烈的音樂(lè)世界,音樂(lè)形式(主要是聲樂(lè)形式)上幾個(gè)主要人物都有精彩的詠嘆調(diào),尤其是女主人公娜仁高娃的詠嘆調(diào)更具光彩。 本文著重分析了娜仁高娃人物的藝術(shù)表現(xiàn)。筆者根據(jù)劇情的發(fā)展把娜仁高娃這一人物形象依次劃分為踏上歸途的娜仁高娃、仇恨的娜仁高娃、悔悟的娜仁高娃和英勇獻(xiàn)身的娜仁高娃,從這幾個(gè)方面結(jié)合娜仁高娃的獨(dú)唱、重唱來(lái)具體分析娜仁高娃的人物形象,并通過(guò)聲樂(lè)技巧方法,來(lái)分析娜仁高娃具體的在聲樂(lè)方面的藝術(shù)表現(xiàn)。
[Abstract]:The opera Cang Yuan was created by Liaoning Song and Dance Theatre in 1995 and has become one of the representative classical operas in China. It is drawn from the tortuous story of the Tulhutes returning to the east. It is also of great realistic significance in the present situation for the Turhute people to go through all the difficulties and dangers and to raise the patriotic theme of moving eastward to return to the motherland. The opera "Cangyuan", in a short space, artistically recreates the grand historical event of the Turhute, and regards the crises faced by the Turhutes as the focus of the play, and will yearn for freedom. The pursuit of dignity and deep attachment to the motherland as the theme. In the music design of the whole play, the Mongolian music style runs through all the time. In the aspect of creation, it embodies the unity of various artistic forms, the combination of the history and the times, the harmony of the content and the form. In music, Cang Yuan shows a majestic, solemn and powerful musical world. Several main characters in the music form (mainly vocal music form) have wonderful aria, especially the arias of the heroine Narengaova. This paper focuses on the analysis of the artistic expression of the characters of Narengawa. According to the development of the plot, the author divides the character image of Narengawa into three categories: Narengawa who set foot on the way home, Narengawa who hates hatred, Narengawa who repents and who is valiant and dedicated. From these aspects, he combines Narengawa's solo singing. It analyzes the characters of Narengawa, and analyzes her artistic expression in vocal music through the method of vocal music technique.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類(lèi)號(hào)】：J822

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