發(fā)布時(shí)間：2018-08-29 11:41

【摘要】：本文梳理了16世紀(jì)末至20世紀(jì)男高音歌唱藝術(shù)的發(fā)展歷程,16世紀(jì)末、17世紀(jì)初歌劇的誕生孕育了美聲唱法,從而使得美聲唱法男高音聲部歌唱藝術(shù)逐步確立,17、18世紀(jì),因?yàn)槟懈咭糇陨淼募夹g(shù)限制等因素導(dǎo)致男高音的發(fā)展受到了極大的困惑,19世紀(jì)男高音終于突破了技術(shù)難關(guān),進(jìn)入了發(fā)展的黃金時(shí)期,20世紀(jì)男高音歌唱藝術(shù)進(jìn)入了新的輝煌時(shí)代�？梢�(jiàn),這一發(fā)展歷程是非常艱難的,我們可以從中探求到男高音歌唱藝術(shù)發(fā)展的特征和規(guī)律。 對(duì)西方男高音坎坷的發(fā)展歷程進(jìn)行梳理后,文章的第二部分主要論述了西方男高音歌唱藝術(shù)對(duì)我國(guó)聲樂(lè)界的深入影響和滲入,從男高音演唱藝術(shù)的直觀展示,“世界三大男高音”帕瓦羅蒂、多明戈和卡雷拉斯的相繼來(lái)華演出。吉諾.貝斯的歌常理論、弗洛的輕機(jī)能訓(xùn)練手段、斯義桂的聲樂(lè)教學(xué)方法等歌唱理論與教學(xué)方法的傳授及深遠(yuǎn)影響三個(gè)方面來(lái)分別論證西方男高音歌唱藝術(shù)對(duì)我國(guó)男高音歌唱藝術(shù)的強(qiáng)大的影響力和促進(jìn)作用。 文章最后的落腳點(diǎn)為中國(guó)特色男高音演唱風(fēng)格的建立,這是本文研究的最終目的。作為一名聲樂(lè)演唱與理論研究者,我們學(xué)習(xí)和吸收國(guó)外的科學(xué)的先進(jìn)的演唱和教學(xué)經(jīng)驗(yàn),其目的的歸根到底是為了推進(jìn)本國(guó)聲樂(lè)教育事業(yè)的發(fā)展,樹(shù)立具有本國(guó)獨(dú)特風(fēng)格的音樂(lè)形象,因而,我們?cè)谖蘸徒梃b之后,應(yīng)該多演唱中國(guó)人自己的作品，加強(qiáng)中國(guó)作品的創(chuàng)作,編寫(xiě)中國(guó)特色的男高音聲樂(lè)教材,并在教學(xué)中擴(kuò)大中國(guó)曲目的涉獵,如此種種,才能從真正意義上建立中國(guó)特色的男高音演唱風(fēng)格,這是需要我們每一個(gè)聲樂(lè)演唱和教育工作者共同努力的!
[Abstract]:This article combs the development course of tenor singing art from the end of the 16th century to the 20th century. The birth of opera at the end of the 16th century and the beginning of the 17th century gave birth to the Bel Canto method, so that the tenor singing art of the Bel canto was gradually established in the 17th and 18th centuries. Because of the technical limitation of tenor itself, the development of tenor has been greatly confused. In the 19th century, tenor finally broke through the technical difficulties, entered the golden period of development and entered a new brilliant era of tenor singing art in the 20th century. It can be seen that the development of tenor singing is very difficult, from which we can explore the characteristics and laws of tenor singing art development. After combing the rough development of the western tenor, the second part of the article mainly discusses the deep influence and infiltration of the western tenor singing art to the vocal music circle of our country, which shows directly from the tenor singing art. Pavarotti, Domingo and Carreras came to perform in China. Gino. Beth's song theory, Flo's light aircraft training method, The singing theory and teaching method of Si Yigui's vocal music teaching method and their profound influence are discussed to demonstrate the powerful influence and promotion effect of the western tenor singing art on the tenor singing art of our country. The final point of the article is the establishment of tenor singing style with Chinese characteristics, which is the ultimate purpose of this paper. As a vocal music singing and theoretical researcher, we study and absorb foreign scientific advanced singing and teaching experience, the purpose of which is, in the final analysis, to promote the development of vocal music education in our country. Therefore, we should sing more Chinese works, strengthen the creation of Chinese works, and compile tenor vocal music textbooks with Chinese characteristics. And in the teaching to expand the Chinese track dabbling, so various, can establish the Chinese characteristic tenor singing style from the real significance, this is needs each vocal music singing and the educator to work together!
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J616-4

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 王學(xué)風(fēng);;和而不同:多元文化背景下文化的和諧發(fā)展[J];江淮論壇;2007年01期

2 周玲;優(yōu)美的語(yǔ)言推動(dòng)歌唱走向完美——談意大利語(yǔ)音與聲音訓(xùn)練[J];交響(西安音樂(lè)學(xué)院學(xué)報(bào));2000年01期

3 劉桂珍;論中國(guó)民族聲樂(lè)學(xué)派——兼論美聲唱法的中國(guó)化問(wèn)題[J];蘭州大學(xué)學(xué)報(bào);2005年01期

4 陶立新;;以語(yǔ)言為突破口,實(shí)現(xiàn)中西聲樂(lè)的融合貫通——論周小燕先生在中西聲樂(lè)相結(jié)合方面的杰出貢獻(xiàn)[J];音樂(lè)研究;2009年04期

5 周小燕;當(dāng)代世界聲樂(lè)發(fā)展趨勢(shì)給我們的啟示——對(duì)我國(guó)聲樂(lè)藝術(shù)若干問(wèn)題的再認(rèn)識(shí)[J];人民音樂(lè);1981年03期

6 周美玉;記喻宜萱教授[J];人民音樂(lè);1983年01期

7 劉頌;記女高音歌唱家、聲樂(lè)教育家周小燕[J];人民音樂(lè);1986年02期

8 李凌;辛勞功高的聲樂(lè)家喻宜萱同志[J];人民音樂(lè);2000年05期

9 ;唱情抒心歌華聲 戀國(guó)愛(ài)民鑄藝魂——記女高音歌唱家、聲樂(lè)教育家喻宜萱教授[J];人民音樂(lè);1997年03期

10 劉晗;中國(guó)美聲唱法發(fā)展走向芻議[J];戲劇文學(xué);2004年03期

，

本文編號(hào)：2211090