本文關(guān)鍵詞： 莫扎特 《魔笛》 體裁特點(diǎn) 演唱風(fēng)格 影響　出處：《湖南師范大學(xué)》2005年碩士論文　論文類型：學(xué)位論文

【摘要】：莫扎特是世界音樂史上罕見的天才,他短短35年的生涯中創(chuàng)作了600多部作品,為人類遺留下了輝煌的藝術(shù)遺產(chǎn)。當(dāng)我們縱覽莫扎特體裁齊全的作品時(shí),除了器樂領(lǐng)域的那些標(biāo)志著一個(gè)特定歷史發(fā)展階段的交響曲、協(xié)奏曲、奏鳴曲、室內(nèi)樂外,最吸引音樂圈內(nèi)人士和聽眾的無疑是他的歌劇了,而在他的22部歌劇中,評價(jià)最高,上演最多的當(dāng)推他的最后一部歌劇杰作——為近代德奧民族歌劇矗立了第一座不朽豐碑的《魔笛》。在《魔笛》中,莫扎特用音樂巧妙地表現(xiàn)了各種不同的人物性格,揭示了戲劇沖突,抒發(fā)了人物情感,烘托了戲劇氣氛。他通過運(yùn)用當(dāng)時(shí)所有的歌劇體裁和音樂的各種形式來完成和塑造了劇中的各種人物形象。在歌劇中,演唱是塑造人物形象的主要手段,唱腔是關(guān)鍵,作為人物個(gè)性唱腔的凝練、濃縮,它不僅為人物性格和形象塑造設(shè)立了基本的框架,同時(shí)也為音樂形象的進(jìn)一步展開提供了最根本的依據(jù)。鑒于此,本文試圖對《魔笛》中的音樂體裁特點(diǎn)進(jìn)行解讀,并根據(jù)這些體裁特點(diǎn)所塑造的人物形象進(jìn)行分析,本文構(gòu)建了如下寫作框架: 前言:主要闡述莫扎特及他的三個(gè)創(chuàng)作時(shí)期,本論文的價(jià)值以及現(xiàn)實(shí)意義,以確立本文寫作的必要性。 第一章:歌劇《魔笛》的體裁特點(diǎn)。第一部分是《魔笛》的簡介,包括三方面:《魔笛》的產(chǎn)生與席卡內(nèi)德;《魔笛》的故事淵源;《魔
[Abstract]:Mozart is a rare genius in the history of music in the world. He has created more than 600 works in his 35 years' career, leaving behind a splendid artistic heritage for mankind. Apart from the symphonies, concertos, sonatas and chamber music that marked a particular stage of historical development in the field of instrumental music, it was undoubtedly his opera that attracted most people and listeners in the music world. And in his 22 operas, the highest rating, the most staged when his last opera masterpiece-for the modern German and Austrian national opera stood the first immortal monument "Pied Piper" in the Piper. Mozart skillfully expresses various characters with music, reveals the drama conflict, and expresses the character's emotion. Through the use of all the opera genre and various forms of music to complete and shape the various characters in the play. In the opera, singing is the main means of portraying the characters. Singing is the key, as the condensed and condensed character singing, it not only establishes the basic frame for the character and image shaping. At the same time, it also provides the most fundamental basis for the further development of music image. In view of this, this paper attempts to interpret the characteristics of music genre in Piper. Based on the analysis of the characters created by these genres, this paper constructs the following frame of writing: This paper mainly expounds Mozart and his three creative periods, the value and practical significance of this paper, in order to establish the necessity of this writing. The first part is a brief introduction of Pied Piper, which includes three aspects: the birth of Pied Piper and Schiganede; the Origin of Pied Piper;
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2005
【分類號】：J616;J832

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前4條

1 王丹;莫扎特歌劇創(chuàng)作中啟蒙主義思想的研究[D];云南藝術(shù)學(xué)院;2012年

2 陳雷;歌劇《魔笛》男主人公塔米諾藝術(shù)魅力探究[D];南京藝術(shù)學(xué)院;2007年

3 劉波;抒情男高音在歌劇中的藝術(shù)表現(xiàn)力[D];陜西師范大學(xué);2012年

4 韓靜;莫扎特三部歌劇中女高音詠嘆調(diào)的演唱分析[D];沈陽師范大學(xué);2013年

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本文編號：1451375