本文關(guān)鍵詞： 中國歌劇 音樂形象 歌劇音樂的戲劇性功能 二度創(chuàng)作　出處：《山東師范大學(xué)》2001年碩士論文　論文類型：學(xué)位論文

【摘要】： 歌劇作為一種綜合性的藝術(shù)門類，是以音樂作為其主要表現(xiàn)手 段的，這也是它與其他姊妹藝術(shù)最根本的區(qū)別。音樂在歌劇中具有 揭示人物性格、推進(jìn)戲劇沖突、抒發(fā)人物情感、烘托戲劇氣氛等重 要功能，它正是通過各種音樂手段、音樂形式的運(yùn)用，而完成其最 終使命——音樂形象的塑造。本文以幾部不同時期具有代表性的中 國歌劇為例，通過引言、歌劇唱腔在音樂形象塑造中的作用、歌劇 的器樂部分在音樂形象塑造中的作用、歌劇演員的二度創(chuàng)作與音樂 形象的塑造和結(jié)語五個部分，分別從一度和二度創(chuàng)作的角度，就歌 劇音樂形象塑造的幾個問題進(jìn)行了論述。 在歌劇中，，歌唱是參與形象塑造的主要表現(xiàn)手段，劇中人物唱腔 的營造是音樂形象塑造的關(guān)鍵。主題，作為人物個性化唱腔的凝煉、 概括和濃縮，它不僅為人物性格和形象發(fā)展設(shè)立了基本的框架，同 時也為音樂形象的進(jìn)一步展開提供了最根本的依據(jù)。歌劇唱腔通過 對戲劇發(fā)展不同階段人物性格的不斷揭示，尤其是對戲劇沖突中人 物內(nèi)心的多視角描繪，最終完成音樂形象的全方位塑造。另外，器 樂作為歌劇音樂整體中不可分割的一部分，在音樂形象塑造中的作 用同樣不容忽視。從二度創(chuàng)作的角度，歌劇演員作為形象的物質(zhì)承 擔(dān)者和直接體現(xiàn)者，在音樂形象塑造中占有獨(dú)特的地位。他（她） 既要準(zhǔn)確地把握原創(chuàng)，又以其自身的藝術(shù)素養(yǎng)、聲音的表現(xiàn)力、歌 唱與表演風(fēng)格往往賦予角色形象以新的內(nèi)容。 本文主要以歌劇《白毛女》、《江姐》和《原野》為主線從多 層面展開分析，在綜合多種觀點(diǎn)的基礎(chǔ)上闡述自己的認(rèn)識與見解， 既指出每部作品的成功與不足，又說明后者對前者的繼承與發(fā)展， 從而透視出中國歌劇音樂創(chuàng)作的發(fā)展歷程。
[Abstract]:As a comprehensive art category, opera is mainly represented by music. This is the most fundamental difference between it and other sister arts. Music in opera has Reveal character, promote drama conflict, express character emotion, contrast drama atmosphere, etc. To function, it is through a variety of musical means, the use of musical forms, and the completion of its most The final Mission-the creation of Music Image. Chinese opera as an example, through the introduction, the role of opera singing in the creation of musical image, opera The role of instrumental music in the shaping of musical image, the second creation of opera actors and music The creation of image and the conclusion of five parts, respectively from the point of view of once and second creation, on the song Several problems in shaping the musical image of the play are discussed. In opera, singing is the main means of expression to participate in the shaping of the image, and the characters in the play sing The creation of music image is the key to the creation of musical image. The theme, as the condensing of personalization, It not only provides a basic framework for the development of character and image, but also provides a basic framework for the development of character and image. It also provides the most fundamental basis for the further development of the musical image. An unceasing revelation of the character of characters in different stages of drama development, especially in the conflict of drama. The multi-angle depiction of the object's heart finally completes the overall shaping of the musical image. In addition, the instrument Music as an integral part of the whole of opera music. From the angle of second creation, opera actor is the material bearing of image. The bearer and the direct embodiment occupy a unique position in the shaping of the musical image. He (she) We should not only grasp the originality accurately, but also with their own artistic accomplishment, voice expression, song The style of singing and acting often gives new content to the character image. This article mainly takes the opera "White-haired Girl", "Jiang Jie" and "the Field" as the main line. On the basis of synthesizing a variety of viewpoints, to expound one's own understanding and opinions, It not only points out the success and deficiency of each work, but also explains the inheritance and development of the former by the latter. In order to perspective the development of Chinese opera music creation process.
【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】：2001
【分類號】：J617.2

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 孫冬冬;;歌劇演唱中藝術(shù)形象的塑造方法研究[J];作家;2012年22期

相關(guān)碩士學(xué)位論文 前8條

1 熊琰;1957-1966年中國歌劇女性形象的人性遮蔽[D];華中師范大學(xué);2007年

2 肖萌音;歌劇《江姐》創(chuàng)作及演唱風(fēng)格的分析與研究[D];山東師范大學(xué);2008年

3 丁s

本文編號：1443562