本文選題：新歌劇 + 歌劇　； 參考：《福建師范大學(xué)》2006年碩士論文

【摘要】：本文從新歌劇《白毛女》的創(chuàng)作特點(diǎn)入手，追尋新歌劇形成的歷史縮影，探究對(duì)于中國(guó)民族歌劇在二十一世紀(jì)發(fā)展具有意義的一些東西。通過(guò)資料收集法、比較法、譜例分析法等手段，在前人研究的基礎(chǔ)之上，追尋二十世紀(jì)上半葉新歌劇的發(fā)展概況：20世紀(jì)上半葉新歌劇的創(chuàng)生軌跡；中國(guó)民族歌劇創(chuàng)生的歷史原因；中國(guó)民族歌劇主要特征及作用；從歌劇《白毛女》的創(chuàng)作概況探詢(xún)歌劇《白毛女》的劇本來(lái)源及創(chuàng)作，歌劇《白毛女》的音樂(lè)創(chuàng)作風(fēng)格；歌劇《白毛女》在音樂(lè)創(chuàng)作方面的民族化風(fēng)格主要體現(xiàn)在：戲曲因素的吸收與借鑒；民歌題材與歌劇音樂(lè)形象的塑造；民族調(diào)式的廣泛運(yùn)用；民族特色演唱形式的貫徹與執(zhí)行。 中國(guó)民族歌劇源于中國(guó)的傳統(tǒng)戲曲，新歌劇則始于二十世紀(jì)。在經(jīng)歷了近百年的發(fā)展歷程以后，無(wú)論在內(nèi)容和形式等方面，，中國(guó)民族歌劇都日漸成熟。隨著新世紀(jì)的到來(lái)，中國(guó)民族歌劇遇到了機(jī)遇和挑戰(zhàn)，如何發(fā)展民族歌劇成為音樂(lè)人的關(guān)注目標(biāo)。中國(guó)民族歌劇的成功模式給了我們?cè)S多啟迪，筆者期望通過(guò)對(duì)新歌劇《白毛女》進(jìn)行研究，探尋該劇在民族化風(fēng)格方面的創(chuàng)新實(shí)踐，為發(fā)展二十一世紀(jì)的中國(guó)民族歌劇提供一些可以借鑒的經(jīng)驗(yàn)。
[Abstract]:This article, starting with the creation characteristics of the new opera "the white haired woman", seeks to trace the historical epitome of the formation of the new opera, and explores some things that have significance for the development of Chinese opera in the twenty-first Century. Through the means of data collection, comparison and analysis of examples, the first half of the first half of the Ye Xin opera in twentieth Century is pursued on the basis of previous studies. Development survey: the creation path of the first half of the Ye Xin opera in twentieth Century; the historical reasons of the creation of Chinese national opera; the main features and functions of the Chinese national opera; from the creation of the opera < Bai Mao > the opera < Bai Mao > the source and creation of the white haired woman > the musical creation style of the opera < Bai Mao >; opera < Bai Mao > in music creation. The style of nationalization is mainly reflected in the absorption and reference of the opera factors, the theme of the folk songs and the creation of the opera music image, the extensive use of national style, the implementation and implementation of the national characteristic singing form.
Chinese national opera originated from traditional Chinese opera, and the new opera began in twentieth Century. After nearly a hundred years of development, Chinese national operas have matured in both content and form. With the arrival of the new century, Chinese opera has encountered opportunities and challenges, and how to develop national operas to become musicians. The successful mode of Chinese national opera has given us a lot of enlightenment. I hope that through the study of the new opera "the white haired woman", the author seeks the innovative practice of the opera in the national style and provides some experience for the development of the Chinese national opera in twenty-first Century.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類(lèi)號(hào)】：J614

【引證文獻(xiàn)】

相關(guān)期刊論文 前2條

1 湯其林;;論芭蕾舞劇《白毛女》中喜兒的形象塑造[J];北方音樂(lè);2011年04期

2 雷麗;;淺析中國(guó)歌劇《白毛女》音樂(lè)創(chuàng)作的民族化[J];太原大學(xué)教育學(xué)院學(xué)報(bào);2012年S1期

相關(guān)碩士學(xué)位論文 前3條

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

2 蔡諍諍;中國(guó)民族歌劇的女性主義印象[D];湖南師范大學(xué);2011年

3 寧大光;中國(guó)民族歌劇聲樂(lè)“美聲化”趨勢(shì)的研究與探索[D];湖南師范大學(xué);2011年

本文編號(hào)：2118355