發(fā)布時間：2018-02-17 04:23

  本文關鍵詞： 花腔女中音 演唱特點 實踐訓練　出處：《陜西師范大學》2011年碩士論文　論文類型：學位論文

【摘要】：花腔作為重要的聲樂演唱技能,代表著一定的美學思想和原則,代表著聲樂技能發(fā)展的一個方向,而花腔與女中聲部相結合,不僅豐富了中聲部的聲樂技能,更體現(xiàn)聲樂演唱風格全面性、全能性的發(fā)展特點。要在女中音基礎上獲得靈活、優(yōu)美、漂亮的花腔,演繹出具有聲部特色的花腔女中音確實是一件不容易的事,它不僅需要正確的聲音概念,科學的訓練方式,還需要對花腔特點有比較全面的了解,所以對花腔女中音演唱特點的探究可以促進聲樂演唱技能的發(fā)展,同時也可以對聲樂教學的發(fā)展有積極的引導作用。本文可分為五個部分,大致內(nèi)容如下： 第一章,緒論：這一部分主要簡單介紹了選題緣由與背景,國內(nèi)外研究現(xiàn)狀、研究方法和思路等方面的內(nèi)容。 第二章,花腔女中音的概述,本章簡要論述了花腔女中音的定義和發(fā)展特點,花腔女中音的聲部特點和藝術價值,以便從概念上對花腔女中音有一個初步的了解。 第三章,花腔女中音演唱特點的分析。這一章主要從從演唱技能、聲音表現(xiàn)、角色塑造等三個方面來對花腔女中音的特點進行說明,為下一章的實踐訓練打下基礎。 第四章,花腔女中音演唱特點的實踐訓練,這一章是從實踐的角度論述了花腔女中音演唱特點。首先,以著名女中音歌唱家貝爾岡扎為例,通過對其演唱經(jīng)歷和聲音特點的分析來探究花腔女中音在實踐中應如何訓練。其次,樹立正確的聲音概念是進行訓練的前提條件也是首要關注的問題,所以就從從多個維度、多個層面去對聲部進行科學、客觀的界定。再次,花腔女中音演唱特點的訓練,主要從音區(qū)、花腔等方面進行論述,又結合羅西尼的三部歌劇中的三首作品《美妙的歌聲隨風飄蕩》、《不再獨坐爐邊悲傷》、《美麗可愛的光》為例進行說明花腔女中音演唱特點及如何在作品中進行體現(xiàn)。最后,簡要說明花腔女中音訓練時應該注意的問題,如要克服氣息沉,流動性弱的問題,加強高音的技術能力,樹立正確的學習態(tài)度等。 第五章,花腔女中音對聲樂藝術及聲樂教學的貢獻,主要表現(xiàn)在四個方面：消解固定的聲音觀念、打破聲種與唱法的界限、促進聲樂藝術多元化的發(fā)展、促進聲樂教學的發(fā)展。
[Abstract]:As an important vocal singing skill, flower cavity represents certain aesthetic thought and principle, and represents a direction of vocal music skill development. The combination of flower cavity and female middle vocal part not only enriches the vocal music skill of middle vocal part, It is really not easy to get a flexible, beautiful, beautiful flower cavity on the basis of soprano, and to deduce a flower cavity with the characteristics of the vocal part. It not only needs correct sound concepts, scientific training methods, but also needs to have a more comprehensive understanding of the characteristics of the flower cavity, so the exploration of the characteristics of the soprano soprano can promote the development of vocal singing skills. At the same time, it can also play a positive role in the development of vocal music teaching. This paper can be divided into five parts, roughly as follows:. Chapter one, introduction: this part mainly introduces the reason and background of the selected topic, the current research situation at home and abroad, the research methods and ideas and so on. The second chapter, the outline of the soprano soprano, this chapter briefly discusses the definition and development characteristics of the soprano soprano, the characteristics of the part and the artistic value of the soprano soprano, so as to have a preliminary understanding of the soprano soprano from the concept. The third chapter, the analysis of the singing characteristics of the soprano soprano, this chapter mainly from three aspects of singing skills, voice performance, role shaping to explain the characteristics of the soprano soprano, lay a foundation for the next chapter of practical training. Chapter 4th, practical training on the characteristics of Hua-cai soprano, this chapter discusses the characteristics of Hua-cai soprano from a practical point of view. First of all, take the famous soprano singer Bergonza as an example. Through the analysis of its singing experience and sound characteristics, this paper explores how to train the soprano soprano in practice. Secondly, setting up the correct sound concept is also the prerequisite for training, so from the perspective of multiple dimensions, More than one level to carry on the scientific, objective definition to the sound part. Thirdly, the training of the singing characteristics of the soprano soprano is mainly discussed from the aspects of the sound area, the flower cavity, and so on. Combined with the three works of Rossini's three operas, "A wonderful song fluttering in the wind", "No longer sitting alone in the hearth of sadness", "Beautiful and lovely Light" as an example to illustrate the singing characteristics of the soprano soprano and how to embody it in the works. This paper briefly describes the problems that should be paid attention to in the training of soprano soprano, such as overcoming the problems of heavy breath, weak fluidity, strengthening the technical ability of soprano, and setting up a correct learning attitude. In Chapter 5th, the contribution of the soprano soprano to the art of vocal music and the teaching of vocal music is mainly manifested in four aspects: dissolving the fixed sound concept, breaking the boundary between the vocal species and the singing method, and promoting the development of the diversity of vocal music art. Promote the development of vocal music teaching.
【學位授予單位】：陜西師范大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：J616.2

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本文編號：1517206