本文選題：歌劇 + 羅西尼�。� 參考：《河北師范大學》2011年碩士論文

【摘要】：歌劇作為一種高度集中了各類獨立的藝術種類的綜合的音樂藝術門類,雖然誕生在較晚的文藝復興時期,但歌唱的這種角色表現形式出現的卻是很早,從古希臘的“荷馬時代”的史詩作品到“古典時代”的古希臘悲、喜劇都有音樂形象的展示。文中以偉大作曲家羅西尼的《塞維利亞理發(fā)師》作為范本,對整部歌劇的創(chuàng)作背景,創(chuàng)作意圖,創(chuàng)作手法做以分析,體驗歌劇中迷人的音樂形象與戲劇沖突。在具體的分析中,從文學作品的源頭進入剖析,到歌劇腳本,再到歌劇的創(chuàng)作,力爭析出歌劇中膾炙人口,動人心扉,久唱不衰的音樂形象的戲劇魅力與深刻的審美特征。在《塞維利亞理發(fā)師》中,序曲的激昂我們會亢奮,阿爾馬維瓦伯爵的詠嘆調我們會感覺到愛情的甜蜜,費加羅的詠嘆調我們會心潮澎湃,羅西娜的謠唱曲我們會感到甜蜜與幸福。這就是音樂形象所帶給我們的直觀的震撼,作為有著非語義性的音樂藝術語匯,在時間的流動中,隨著物理性的感性傳播。以其特有的對于情感的抒發(fā),對于情節(jié)的表達,在戲劇提供的空間架構上,在受眾的心靈中讓戲劇性充分展開,充實,擴展甚至升華,使歌劇的形象有血有肉,具備無論在任何文化背景與語言環(huán)境中的強大生命力。
[Abstract]:Opera, as a comprehensive category of musical art with a high concentration of all kinds of independent art types, was born in the late Renaissance period, but the expression of this kind of role in singing appeared very early. From the epic works of Homer Age in ancient Greece to the tragic Greek works in Classical Age, comedy has a musical image. Taking the great composer Rosini's Seville Barber as a model, this paper analyzes the background, intention and technique of the whole opera, and experiences the conflict between the charming musical image and the drama in the opera. In the concrete analysis, from the source of the literary works into the analysis, to the opera script, to the opera creation, strives to separate out the opera popular, the moving heart, the long-singing music image drama charm and the profound esthetic characteristic. In the barber of Seville, the excitement of the prelude will be high, the aria of count Armah Viva we will feel the sweetness of love, the aria of Figaro we will be filled with excitement. Rosina's ballad will make us feel sweet and happy. This is the intuitive shock brought to us by the music image, as a non-semantic musical art vocabulary, in the flow of time, with the physical perceptual dissemination. With its unique expression of emotion, the expression of plot, and the space provided by drama, the drama can be fully expanded, enriched, expanded and even sublimated in the hearts of the audience, so that the image of the opera has flesh and blood. Strong vitality in any cultural background and language environment.
【學位授予單位】：河北師范大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：J832

【參考文獻】

相關期刊論文 前1條

1 林彌忠;《塞維里亞的理發(fā)師》和《費加羅的婚禮》中兩個蘿西娜的角色類型比較[J];黃鐘(中國.武漢音樂學院學報);2003年04期

，

本文編號：1858990