【摘要】： 貝利尼,19世紀(jì)初意大利浪漫主義歌劇“美聲樂(lè)派三巨頭”之一�！秹�(mèng)游女》是貝利尼創(chuàng)作風(fēng)格由繼承傳統(tǒng)、模仿他人到獨(dú)出機(jī)杼,散發(fā)獨(dú)特魅力的成熟之作。在宏觀上,本文將阿米娜放入《夢(mèng)游女》整部歌劇,重溫阿米娜的愛(ài)情之路,感受阿米娜內(nèi)心情感變化,進(jìn)而把握阿米娜戲劇形象;在微觀上,本文考量《夢(mèng)游女》劇中出現(xiàn)的多種演唱形式,從阿米娜自身、阿米娜與其他劇中人物互動(dòng)等多個(gè)方面綜合把握阿米娜音樂(lè)形象。最后,本文從演唱技巧方面對(duì)阿米娜經(jīng)典唱段進(jìn)行仔細(xì)剖析,為更好的飾演阿米娜這一角色、演唱阿米娜唱段服務(wù)。 在緒論中,簡(jiǎn)要介紹了貝利尼和他所處的時(shí)代以及《夢(mèng)游女》一劇在貝利尼創(chuàng)作生涯中的重要地位。 正文分為三章:在第一章中,本文首先介紹了貝利尼創(chuàng)作經(jīng)歷;簡(jiǎn)述了《夢(mèng)游女》的創(chuàng)作背景,并以阿米娜為中心講述了《夢(mèng)游女》劇情發(fā)展,對(duì)其中重要唱段進(jìn)行簡(jiǎn)單說(shuō)明,為后面人物分析做好鋪墊;然后依據(jù)阿米娜的經(jīng)歷把握阿米娜內(nèi)心情感,對(duì)阿米娜戲劇形象進(jìn)行多方面闡述和分析。在第二章中,本文主要圍繞合唱、獨(dú)唱、重唱三種演唱形式,對(duì)在《夢(mèng)游女》中出現(xiàn)的重要唱段進(jìn)行音樂(lè)手段及情感表達(dá)等多個(gè)方面分析,并簡(jiǎn)要介紹了演唱要點(diǎn)。在第三章中,本文首先通過(guò)分析貝利尼的詠嘆調(diào)結(jié)構(gòu),把握貝利尼音樂(lè)語(yǔ)言、聲樂(lè)風(fēng)格,將《夢(mèng)游女》中阿米娜經(jīng)典詠嘆調(diào)分為抒情Cavatina和花腔Cabaletta兩大部分,分析詳細(xì)的演唱技巧,為更好的演唱、人物塑造及詮釋作品服務(wù)。
[Abstract]:Bellini, one of the three giants of the Italian Romantic opera of the beginning of the 19th century. Sleepwalker is a mature work in which Bellini's creative style inherits tradition, imitates others and spreads unique charm. On the macro level, this article puts Aminay in the whole opera of sleepwalker, reviews Aminay's love road, feels Aminay's inner emotion change, and then grasps Aminay's dramatic image. On the micro level, this paper considers the various singing forms in sleepwalker, and comprehensively grasps Aminay's musical image from the aspects of Aminay himself, Aminay's interaction with other characters and so on. Finally, this paper makes a careful analysis of Aminay's classic choir from the aspect of singing skills, in order to better play the role of Aminay, singing Aminay track service. In the introduction, the author briefly introduces Bellini and his time and the important position of sleepwalker in Bellini's writing career. The text is divided into three chapters: in the first chapter, this paper first introduces Bellini's creative experience; This paper briefly describes the background of the creation of sleepwalker, narrates the development of the plot of the sleepwalker with Aminay as the center, and gives a simple explanation of the important choreography, which lays the groundwork for the analysis of the characters in the future. Then according to Aminay's experience to grasp Aminay's inner feelings, Aminay drama image is expounded and analyzed. In the second chapter, this paper mainly focuses on three kinds of singing forms: chorus, soloist and duet, and analyzes the musical means and emotional expression of the important songs in sleepwalker, and briefly introduces the main points of singing. In the third chapter, by analyzing Bellini's aria structure, the author grasps Bellini's music language and vocal style, and divides Aminay's classical aria into two parts: lyric Cavatina and Cabaletta. Analysis of detailed singing skills for better singing, characterization and interpretation of works.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：J832

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前10條

1 鄧倩;花腔演唱藝術(shù)探究[D];陜西師范大學(xué);2011年

2 徐勵(lì)成;試論拉赫瑪尼諾夫歌劇《阿列科》中“阿列科”的藝術(shù)形象[D];上海師范大學(xué);2011年

3 劉莉莉;從艾爾薇拉看歌劇《清教徒》的藝術(shù)特征[D];上海音樂(lè)學(xué)院;2011年

4 楊莉;貝利尼歌劇《夢(mèng)游女》中阿米娜主要唱段的演唱與教學(xué)初探[D];四川師范大學(xué);2011年

5 康健;貝利尼歌劇《諾爾瑪》《夢(mèng)游女》《清教徒》中塑造女主角形象的藝術(shù)手段及風(fēng)格特征[D];南京藝術(shù)學(xué)院;2010年

6 劉穎;試論氣息在花腔女高音演唱中的運(yùn)用[D];武漢音樂(lè)學(xué)院;2010年

7 宋歌;意大利浪漫時(shí)期女高音詠嘆調(diào)華彩樂(lè)段的演唱技法探究[D];燕山大學(xué);2012年

8 王曼雯;崇尚旋律的“意大利夜鶯”[D];陜西師范大學(xué);2012年

9 王曉菲;貝利尼室內(nèi)樂(lè)聲樂(lè)作品的創(chuàng)作特征與演唱風(fēng)格研究[D];山東師范大學(xué);2012年

10 王茜;貝利尼歌劇中女高音詠嘆調(diào)的演唱風(fēng)格和技法研究[D];中央民族大學(xué);2012年

，

本文編號(hào)：2379590