【摘要】：中國歌劇自20世紀20年代誕生以來,不斷變革創(chuàng)新,至今已走過80年的曲折歷程,在歌劇發(fā)展史上曾掀起過三次高潮。40年代以《白毛女》為代表的優(yōu)秀歌劇堪稱是歌劇史上的里程碑,掀起了歌劇發(fā)展的第一次高潮。50年代末到60年代中期以《洪湖赤衛(wèi)隊》、《江姐》為代表的優(yōu)秀歌劇作品,塑造了感人至深、栩栩如生的“韓英”、“江姐”的歌劇形象,出現(xiàn)了“人人爭唱‘洪湖水’,處處都聞‘紅梅贊’的盛況”,將中國歌劇的發(fā)展推向了另一個高潮。90年代,《原野》《蒼原》等歌劇作品的問世,使得中國歌劇的發(fā)展呈現(xiàn)體裁風格多樣化,無主流風格的多元并存局面,重唱、對唱、伴唱、合唱等各種演唱形式在歌劇中得到了表現(xiàn)機會與施展空間,更加充分完整的體現(xiàn)出歌劇作為一種綜合藝術應該具有的形式、意義、價值。 新時期,隨著著名作曲家關峽《木蘭詩篇》的成功推出,瞬間吸引了世界高度的關注,把中國歌劇推向歷史新的高峰,標志著中國民族歌劇正式走向世界�！赌咎m詩篇》題材改編自樂府詩《木蘭辭》,故事曲折委婉,真實感人。筆者以歌劇《木蘭詩篇》中的人物形象塑造為核心,將音樂形象塑造和戲劇形象塑造兩者有機地結合起來,并對木蘭劇中的主要唱段進行深入而全面的演唱處理研究。在對中國歌劇《木蘭詩篇》的人物形象塑造進行簡單介紹之后,總結了中國歌劇《木蘭詩篇》的藝術價值,然后由歌劇《木蘭詩篇》引發(fā)出對中國歌劇的發(fā)展道路的思考,筆者希望通過對《木蘭詩篇》這部歌劇歌劇的人物研究,為中國民族歌劇的創(chuàng)新及發(fā)展方向提供一些可以借鑒的經驗。
[Abstract]:Since the birth of Chinese opera in the 1920s, it has undergone a tortuous course of 80 years. There have been three climaxes in the history of the development of opera. The excellent opera represented by the White-haired Girl in the 1940s was a milestone in the history of opera. From the late 1950s to the mid-1960s, the excellent opera works represented by Honghu Red Guard team and Jiang Jie created the moving and lifelike operas of "Han Ying" and "Jiangjie". The emergence of "everyone competing to sing 'Honghu Water' and hear 'Red Plum Zan' everywhere" pushed the development of Chinese opera to another climax. In the 1990s, operas such as the Wild Land, Cang Yuan, and so on, came out. The development of Chinese opera presents a variety of genres, no mainstream style of multiple coexistence situation, duet, accompaniment, chorus and other forms of singing in the opera has been the opportunity to express and display space, More fully and completely reflects the opera as a comprehensive art should have the form, significance, value. In the new era, with the successful introduction of the famous composer Guanxia "Mulan Poems", it has attracted the attention of the world and pushed the Chinese opera to a new peak in history. "Mulan Psalm" is adapted from Yuefu poem "Mulan ci", the story is zigzag and euphemism, and it is true and touching. The author takes the characters in the opera Mulan Poems as the core, organically combines the musical image with the dramatic image, and makes a thorough and comprehensive study on the singing treatment of the main singing passages in the Mulan play. After a brief introduction to the characters of the Chinese opera Mulan Psalm, this paper summarizes the artistic value of the Chinese opera Mulan Psalm, and then gives some thoughts on the development of Chinese opera by the opera Mulan Psalm. The author hopes to provide some experience for the innovation and development of Chinese national opera by studying the characters of Mulan Psalm.
【學位授予單位】：河北大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：J822

【引證文獻】

相關碩士學位論文 前2條

1 楊素軍;歌劇《木蘭詩篇》木蘭詠嘆調演唱風格的分析[D];華南理工大學;2012年

2 隋煒;歌劇《木蘭詩篇》的民族化創(chuàng)作研究[D];華東師范大學;2012年

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本文編號：2400114