【摘要】：本文針對拉赫瑪尼諾夫《音樂會練聲曲》,對其《音樂會練聲曲》的演唱要求進行考源以及對其作品研究的心得感悟。謝爾蓋·瓦西里維奇·拉赫瑪尼諾夫(1873-1943)是20世紀上半葉著名的俄國作曲家、指揮家、鋼琴家�！兑魳窌毬暻穭�(chuàng)作于1912年,作品op.34是拉赫瑪尼諾夫的藝術(shù)歌曲中最著名的作品之一,也是他唯一的一部音樂會練聲曲,這首作品是為當時俄國著名抒情花腔女高音涅日丹諾娃量身定做的。拉赫瑪尼諾夫《音樂會練聲曲》充分地發(fā)揮音樂會練聲曲這一體裁的演唱要求,以及帶有俄羅斯韻味的優(yōu)美旋律。 本文首先通過對拉赫瑪尼諾夫《音樂會練聲曲》的音樂背景及藝術(shù)特性進行簡明扼要的總結(jié)性介紹。然后進一步對《音樂會練聲曲》的演唱要求特點和聲樂演唱技巧的難度掌握及解決手段進行闡析。重點針對“a”母音的運用、起始音的重要性、呼吸的運用、氣息的控制,連音、裝飾音的演唱處理、聲音力度的把握、表情記號的運用等,以及對作品的演唱分段把握和詮釋作以梳理進行闡述分析。最后對拉赫瑪尼諾夫《音樂會練聲曲》的聲樂魅力進行心得體會,同時為使更多的專業(yè)演唱及聲樂教學對這一體裁有更多的關(guān)注,并提供一定的理論依據(jù)。為完美的詮釋該作品做理論與技術(shù)上的準備,既對演繹拉赫瑪尼諾夫這首作品起到指導(dǎo)作用,也對深入研究音樂會練聲曲起到良好的促進作用。希望通過更多的研究及實踐使音樂會練聲曲這一體裁的運用不僅能作為訓練聲音的好手段又能作為音樂會上演唱的優(yōu)秀曲目。 在研究過程中,筆者了解到國內(nèi)有關(guān)音樂會練聲曲發(fā)展及運用的研究還甚少,對拉赫瑪尼諾夫《音樂會練聲曲》聲樂演唱方面的研究挖掘基本上處于空白狀態(tài),所以筆者試圖從這一新的視角出發(fā)解析其學術(shù)價值。筆者的大膽想法,需要更多聲樂學習者和聲樂教師給予足夠的重視和支持,對其價值進行更進一步挖掘,更好的運用到聲樂學習中來。
[Abstract]:Based on Rachmaninov's Concert practice, this paper makes an examination of the singing requirements of Rachmaninov's Concert and his works. Sergei Vasilivich Rakhmaninov (1873-1943) was a famous Russian composer, conductor and pianist in the first half of the 20th century. Work op.34 is one of Rachmaninov's most famous works of art and his only concert soundtrack, which was tailored to the famous Russian lyric soprano Nirzdanova at that time. Rachmaninov's "Concert Soundry" gives full play to the singing requirements of the genre of "Concert", as well as the beautiful melody with Russian flavor. This paper first introduces the musical background and artistic characteristics of Rachmaninov's Concert. Then, the characteristics of the singing requirements and the difficulty of vocal singing skills are analyzed. Focusing on the use of "a" vowels, the importance of starting sounds, the use of breath, the control of breath, the singing of consonants and decorative sounds, the grasp of sound intensity, the use of emoji, etc. As well as the work of the singing section grasp and interpretation to sort out the analysis. Finally, the author makes some experience on the vocal charm of Rachmaninov's vocal music practice, and provides some theoretical basis for more professional singing and vocal music teaching to pay more attention to this genre. In order to make theoretical and technical preparation for the perfect interpretation of the work, it not only plays a guiding role in deducing Rachmaninov's work, but also plays a good role in promoting the further study of the concert sonic music. It is hoped that through more research and practice, the music practice can be used as not only a good means to train the sound, but also an excellent track in the concert. In the course of the research, the author knows that there are few researches on the development and application of concert vocal music in China, and the research and excavation of Rachmaninov's vocal music singing is basically in a blank state. So the author tries to analyze its academic value from this new angle of view. The author's bold ideas need more vocal music learners and vocal music teachers to give enough attention and support to further explore its value and better use in vocal music learning.
【學位授予單位】：華南理工大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：J616

【引證文獻】

相關(guān)期刊論文 前1條

1 張洪俠;;拉赫瑪尼諾夫《音樂會練聲曲》在聲樂教學中的應(yīng)用[J];交響(西安音樂學院學報);2012年04期

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本文編號：2208362