【摘要】： 在莫扎特短暫的生涯中,一共寫(xiě)了600多部音樂(lè)作品,所有的音樂(lè)體裁無(wú)不涉獵。對(duì)于每一種體裁莫扎特都游刃有余,佳作輩出,在西方音樂(lè)史中只有莫扎特被公認(rèn)為稀世奇才,而莫扎特的主要成就首推歌劇。莫扎特曾明確的表示:“我最強(qiáng)烈和最炙熱的愿望是為戲劇而創(chuàng)作,這種思想不斷地纏繞我,只要一踏入劇院,或聽(tīng)別人談?wù)摳鑴?我就無(wú)法克制自己�！� 歌劇從佛羅倫薩誕生之后,經(jīng)歷了佛羅倫薩、羅馬、那不勒斯和威尼斯四個(gè)樂(lè)派的繁榮發(fā)展時(shí)期,又經(jīng)歷了格魯克卓有成效的改革,逐漸演化為正歌劇和喜歌劇兩種形式。一般來(lái)講,在莫扎特之前,正歌劇的音樂(lè)家都習(xí)慣從古代神話(huà)和宗教中尋找題材,這樣的作品通�？梢誀I(yíng)造出圣神莊嚴(yán)的舞臺(tái)氣氛,也有助于人們追求理想中的愛(ài)情和情感,但這一切畢竟離現(xiàn)實(shí)太遠(yuǎn),莫扎特的喜歌劇取材新穎,富有時(shí)代感,他注重角色性格的刻畫(huà)和內(nèi)心情感的表述,他巧妙地將音樂(lè)的旋律結(jié)構(gòu)和戲劇情節(jié)完美地連接,使其成為名副其實(shí)的歌唱戲劇藝術(shù)。 本論文從貴族和平民兩個(gè)立足點(diǎn)出發(fā),分析了莫扎特三部喜歌劇中的女性人物。把貴族女性的人物形象、音樂(lè)特征,以及平民女性的人物形象和音樂(lè)特征做了詳細(xì)的比較分析,從中找出莫扎特女性角色的演唱風(fēng)格,使我們?cè)诮窈蟮慕虒W(xué)和學(xué)習(xí)中更好得把握莫扎特歌劇的精髓。
[Abstract]:In his short career, Mozart wrote more than 600 pieces of music, all of which dabbled in all musical genres. Mozart has a good work for every genre. In the history of western music, only Mozart is recognized as a rare talent, and Mozart's main achievement is opera. Mozart once made it clear: "my strongest and hottest desire is to write for drama, and the idea is constantly twisting around me, and as soon as I step into the theatre or listen to other people talking about opera, I can't restrain myself." After the birth of the opera from Florence, experienced the prosperity of Florence, Rome, Naples and Venice, and went through the fruitful reform of Gruk, and gradually evolved into two forms of opera and opera. Generally speaking, prior to Mozart, opera musicians were accustomed to looking for subjects from ancient myths and religions, which usually created a solemn stage atmosphere for the Holy Spirit and helped people to pursue the ideal of love and emotion. But all this is too far from reality, Mozart's opera is novel, rich with a sense of the times, he pays attention to the portrayal of character and the expression of inner feelings, he cleverly links the melodic structure of music with the dramatic plot. Make it a true art of singing drama. This paper analyzes the female characters in Mozart's three operas from two standpoints: aristocrat and commoner. This paper makes a detailed comparison and analysis of the figures, musical features, characters and music features of the aristocratic women, and finds out the singing style of Mozart's female characters. So that we in the future teaching and learning better grasp the essence of Mozart opera.
【學(xué)位授予單位】：武漢音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類(lèi)號(hào)】：J832

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 杜曉霞;歌劇《女人心》中三位女高音角色的分析與演繹[D];山西大學(xué);2012年

2 周悅;多尼采蒂歌劇中經(jīng)典女性角色的研究[D];山東師范大學(xué);2012年

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本文編號(hào)：2200691