本文關(guān)鍵詞： 郭蘭英 彭麗媛 民族聲樂 現(xiàn)代民族聲樂 《白毛女》 喜兒 《恨似高山仇似海》　出處：《華中師范大學(xué)》2006年碩士論文　論文類型：學(xué)位論文

【摘要】：郭蘭英是我國民族聲樂界最為杰出的藝術(shù)家之一,她代表了一個時代,她和與她同時代的一大批杰出的歌唱家、作曲家等藝術(shù)家一起,構(gòu)成了我國現(xiàn)代民族聲樂的起點。而彭麗媛作為新一代的歌唱家,更是將中國的民族聲樂水平推到了一個前所未有的高峰。在不同的歷史時期,郭蘭英和彭麗媛分別成功地塑造了歌劇《白毛女》中的“喜兒”一角。 本文在吸收和借鑒前人研究成果的基礎(chǔ)之上,對郭蘭英和彭麗媛從藝術(shù)經(jīng)歷、演唱技巧和舞臺表演個三個方面進(jìn)行分析和比較,重點以歌劇《白毛女》中“喜兒”的代表性唱段《恨似高山仇似�！窞槔右苑治�,主要運用對比的方法研究兩者在聲樂表演藝術(shù)上的異同。通過研究她們對同一作品中同一角色的不同藝術(shù)處理,彰顯她們各自的藝術(shù)風(fēng)格。以此為基礎(chǔ),使我們得到一些對現(xiàn)代民族聲樂藝術(shù)未來發(fā)展的有益的啟示。 本文的結(jié)構(gòu)大致可以分為以下四個部分: 序言:主要論述郭蘭英和彭麗媛在我國民族聲樂發(fā)展史上的地位和影響。 第一章:社會背景分析,主要論述郭蘭英和彭麗媛所處社會歷史背景以及她們各自不同的藝術(shù)經(jīng)歷。 第二章:藝術(shù)表現(xiàn)的比較,主要從二者的角色塑造、演唱技巧和舞臺表演三方面對她們進(jìn)行對比分析,以《白毛女》的代表性唱段《恨似高山仇似�！窞槔右苑治�,主要從發(fā)聲方法與技巧、聲樂語言、藝術(shù)處理等方面加以分析。 結(jié)語:通過對郭蘭英和彭麗嬡歌劇表演藝術(shù)的比較研究,使我們得到一些對現(xiàn)代民族聲樂藝術(shù)未來發(fā)展的有益的啟示,從而指導(dǎo)我們的藝術(shù)實踐。
[Abstract]:Guo Lanying is one of the most outstanding artists in the field of national vocal music in China. She represents an era in which she works with a large number of outstanding singers, composers, and other artists of her time. It constitutes the starting point of modern Chinese national vocal music. Peng Liyuan, as a new generation of singers, has pushed the level of Chinese national vocal music to an unprecedented peak. In different historical periods, Guo Lanying and Peng Liyuan succeeded in shaping the role of "Xi er" in the opera "Whitehaired Girl". On the basis of absorbing and drawing lessons from previous studies, this paper analyzes and compares Guo Lanying and Peng Liyuan from three aspects: artistic experience, singing skills and stage performance. Focus on the opera "White-haired Girl" in the representative segment of "Xi er" < hate like mountains like the sea] as an example to analyze, This paper mainly uses the method of contrast to study the similarities and differences between them in the performing art of vocal music. By studying their different artistic treatment of the same character in the same work, they show their respective artistic styles. So that we can get some useful inspiration for the future development of modern national vocal music art. The structure of this paper can be roughly divided into the following four parts:. Preface: mainly discusses the position and influence of Guo Lanying and Peng Liyuan in the history of Chinese national vocal music. The first chapter: social background analysis, mainly discusses Guo Lanying and Peng Liyuan's social and historical background and their different artistic experiences. The second chapter: the comparison of artistic performance, mainly from the role shaping, singing skills and stage performance of the three aspects of their comparative analysis, with the representative of "White hair Girl", "hate like a mountain like the sea" as an example to analyze. Mainly from the vocal methods and skills, vocal music language, art processing and other aspects to be analyzed. Conclusion: through the comparative study of Guo Lanying and Peng Liai's opera performance art, we can get some useful inspiration for the future development of modern national vocal music art, and guide our art practice.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：J616

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前5條

1 蔡雪媛;四代白毛女扮演者演唱風(fēng)格及對中國民族聲樂的影響[D];河北師范大學(xué);2011年

2 趙麗娟;郭蘭英的歌唱藝術(shù)在中國民族聲樂發(fā)展中的歷史地位[D];西北師范大學(xué);2011年

3 王雯;探究彭麗媛民族歌劇表演藝術(shù)特色[D];河南大學(xué);2010年

4 雷佳;融戲曲唱法于民族唱法[D];南京藝術(shù)學(xué)院;2010年

5 陳圓;歌劇《白毛女》“喜兒”四位扮演者演唱風(fēng)格研究[D];湖南師范大學(xué);2013年

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本文編號：1502612