本文選題：歌劇《原野》 + 金子��； 參考：《山東師范大學(xué)》2010年碩士論文

【摘要】： 歌劇《原野》是當(dāng)今樂壇的經(jīng)典�！对啊分匀绱顺晒�,就在于它將劇中人物復(fù)雜、矛盾的心理,通過樂章、詠唱、表演的形式,進行了豐富的表達,讓觀眾看到了一個個有血有肉、栩栩如生的舞臺形象。本文將劇中的女主角金子作為研究對象,全面而深入地分析了金子的角色形象以及金子經(jīng)典唱段的演唱處理。本文共分為五個部分。 第一部分為前言,主要是對歌劇《原野》的地位和價值、本課題的研究目的與意義以及國內(nèi)外關(guān)于該課題的研究現(xiàn)狀及研究趨勢進行綜述。 第二部分是對歌劇《原野》的概述。本章節(jié)分為四個要點。第一要點對文學(xué)劇本《原野》及它的作者曹禺先生進行介紹。第二點分析了歌劇《原野》的腳本創(chuàng)作背景。第三點解析了歌劇《原野》的音樂特點。第四點總結(jié)了歌劇《原野》的創(chuàng)作對中國新時期歌劇發(fā)展的啟示。 第三部分為本篇論文的重點章節(jié),全面地分析“金子”形象。本章分為三個要點。第一要點介紹金子的角色來源。第二要點從“戲劇”和“音樂”兩個方面剖析金子的藝術(shù)形象。第三要點分析了金子角色的地位和作用。 第四部分主要是從專業(yè)的角度出發(fā),分析了金子《哦,天又黑了》、《啊!我的虎子哥》以及《你們打我吧》這三首女高音詠嘆調(diào)的演唱處理,包括對語氣、音量、音色、氣息、形體等方面對演唱者的要求。 第五部分為結(jié)語,本部分結(jié)合自己幾年的專業(yè)積累和感悟?qū)θ慕鹱有蜗笏茉旌脱莩南嚓P(guān)分析做出總結(jié)。 歌劇《原野》的創(chuàng)作較之以往的歌劇而言可以說是一種超越,但這種超越并沒有與觀眾產(chǎn)生隔膜,而是起著“前導(dǎo)”的作用,這說明作曲家在大膽創(chuàng)新的同時,也注意到我們民族的欣賞習(xí)慣和當(dāng)代人的審美規(guī)律,努力尋求歌劇表演的新形式與音樂本體的可欣賞性之間的平衡,因此可以說《原野》為我國新時期的歌劇發(fā)展奠定了堅實的基礎(chǔ)。
[Abstract]:Opera "Plains" is a classic in today's music world. The reason why it is so successful is that it gives rich expression to the complex and contradictory psychology of the characters in the play through the forms of movement, chant, and performance. Let the audience see a flesh and blood, lifelike stage image. In this paper, the heroine gold as the research object, a comprehensive and in-depth analysis of the role of gold and gold classic singing treatment. This paper is divided into five parts. The first part is the preface, which mainly summarizes the status and value of opera, the purpose and significance of the research, and the current research situation and research trend of the subject at home and abroad. The second part is an overview of the opera field. This chapter is divided into four main points. The first point introduces the literary play the Field and its author, Mr. Cao Yu. The second point analyzes the script creation background of opera field. The third point analyzes the musical characteristics of opera field. The fourth point summarizes the inspiration of opera creation to the development of Chinese opera in the new period. The third part is the key chapter of this paper, the overall analysis of the image of "gold". This chapter is divided into three main points. The first point introduces the source of the role of gold. The second point is to analyze the artistic image of gold from two aspects: drama and music. The third point analyzes the role and status of the role of gold. The fourth part is mainly from a professional point of view, the analysis of gold < Oh, the sky is dark >, < ah! "my Tiger Brother" and "you hit me" these three soprano arias singing processing, including tone, volume, tone, breath, shape and other aspects of the singer requirements. The fifth part is the conclusion, this part combined with my own professional accumulation and understanding of the full text of gold image shaping and singing related analysis to make a summary. The creation of opera "field" can be said to be a kind of transcendence compared with previous operas, but this transcendence is not separated from the audience, but plays a "leading" role, which shows that the composer is making bold innovations at the same time. Noting also the appreciation habits of our people and the aesthetic laws of the present generation, and striving to find a balance between the new forms of opera performance and the appreciability of the music itself, Therefore, it can be said that the field laid a solid foundation for the development of opera in the new period of our country.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J822

【引證文獻】

相關(guān)期刊論文 前1條

1 徐慧慧;;歌劇詠嘆調(diào)《啊!我的虎子哥》[J];大舞臺;2012年04期

相關(guān)碩士學(xué)位論文 前1條

1 朱金鳳;生命的吶喊與詩意的言說[D];浙江師范大學(xué);2012年

，

本文編號：2082292