【摘要】： 從19世紀(jì)后半葉到20世紀(jì)前半葉,普契尼以其感人肺腑的戲劇情節(jié)和優(yōu)美清新的音樂成為了繼威爾第之后意大利最具有影響力的歌劇作曲家。歌劇《圖蘭朵》是他歌劇創(chuàng)作中的最后一部歌劇,也是最有影響力的一部,作曲家普契尼畢其一生的精華而作,是對(duì)普契尼一生歌劇事業(yè)的總結(jié)。 歌劇《圖蘭朵》以古代中國(guó)為背景,劇中作曲家普契尼運(yùn)用多種藝術(shù)手法,采用中國(guó)民歌茉莉花的旋律和生活民俗,是整部歌劇從頭到尾都充滿了異國(guó)情調(diào)和東方色彩。劇中塑造了圖蘭朵、卡拉夫、柳兒等一批鮮活的人物形象,也誕生了幾首經(jīng)典的詠嘆調(diào),如“今夜無人入睡”和“主人,請(qǐng)聽我說”等。 筆者將前人對(duì)普契尼這部歌劇的研究進(jìn)行了梳理,了解到前人的研究大多主要集中在對(duì)歌劇主要人物柳兒及其詠嘆調(diào)的研究上,而對(duì)歌劇中卡拉夫王子人物形象的研究上,還比較少。所以,本文通過對(duì)普契尼歌劇《圖蘭朵》中卡拉夫王子這一角色進(jìn)行分析研究,力求全面、細(xì)致地對(duì)其藝術(shù)形象、音樂形象提出一些自己的看法。 文章從以下幾個(gè)方面進(jìn)行論述: 第一章是引言。主要是對(duì)本課題的選題意義、研究目標(biāo)、研究?jī)?nèi)容及研究現(xiàn)狀進(jìn)行深入細(xì)致地論述。 第二章是普契尼及其歌劇《圖蘭朵》。文章分為三部分,第一部分主要是概述普契尼的生平及其著名歌劇,并認(rèn)真分析歌劇《圖蘭朵》的創(chuàng)作心理和藝術(shù)特色。第二部分是對(duì)歌劇《圖蘭朵》的綜合分析,主要分為三個(gè)方面,是從歌劇《圖蘭朵》的歷史背景、文本演變、異國(guó)情調(diào)及東方色彩進(jìn)行分析。第三部分是歌劇《圖蘭朵》的劇情結(jié)構(gòu),以圖表的形式較為詳細(xì)的分析歌劇每一幕之間的關(guān)系。 第三章是歌劇《圖蘭朵》中卡拉夫的戲劇人物形象分析。本章主要分為兩部分,第一部分簡(jiǎn)單介紹歷史上韃靼人,以便總體上把握卡拉夫的性格特點(diǎn)。第二部分是對(duì)卡拉夫角色分析,主要是對(duì)卡拉夫王子的人物性格進(jìn)行研究。 第四章是歌劇《圖蘭朵》中卡拉夫的音樂形象分析。是全文的重點(diǎn)章節(jié),分為兩部分,第一部分主要是分析卡拉夫的音樂形象特征。第二部分是對(duì)卡拉夫在歌劇中二首著名詠嘆調(diào)的分析以及藝術(shù)成就。 第五章是卡拉夫的詠嘆調(diào)與普契尼及其它歌劇男高音詠嘆調(diào)的異同。主要分為三部分,主要從人物特色、音樂創(chuàng)作手法和音樂主題風(fēng)格上進(jìn)行分析研究。 最后是文章的結(jié)語(yǔ)
[Abstract]:From the second half of the 19th century to the first half of the 20th century, Puccini became Italy's most influential opera composer after Verdi with his touching dramatic plot and beautiful and fresh music. The opera Tulando is the last opera in his opera creation, and it is also the most influential one. Composer Puccini has written the essence of his life, which is a summary of Puccini's opera career in his life. The opera Tulando is set in ancient China. Puccini, the composer in the opera, uses a variety of artistic techniques and adopts the melodies of Chinese folk songs and jasmine flowers and folk customs of life. The whole opera is full of exotic and oriental colors from beginning to end. The play portrays a group of fresh characters such as Turando, Karav, Liu er and so on, and also gives birth to several classic arias, such as "No one sleeps tonight" and "Master, please listen to me" and so on. The author combs the previous research on Puccini's opera, and understands that most of the previous studies mainly focus on the main characters of opera Liu er and his aria, but there are few studies on the characters of Prince Karafu in opera. Therefore, through the analysis and study of the role of Prince Karafu in Puccini opera Tulando, this paper tries to put forward some views on his artistic image and music image in a comprehensive and meticulous way. The article discusses from the following aspects: the first chapter is the introduction. Mainly on the significance of this topic, research objectives, research content and research status are discussed in detail. The second chapter is Puccini and his opera Turando. The article is divided into three parts. The first part is an overview of Puccini's life and his famous opera, and a careful analysis of the creative psychology and artistic characteristics of the opera Turandot. The second part is a comprehensive analysis of the opera Tulando, which is mainly divided into three aspects, which is analyzed from the historical background, text evolution, exotic mood and oriental color of the opera Tulando. The third part is the plot structure of opera Tulando, which analyzes the relationship between each scene of opera in detail in the form of chart. The third chapter is the analysis of Karafu's dramatic characters in the opera Tulando. This chapter is divided into two parts, the first part briefly introduces the Tatars in history, in order to grasp the personality characteristics of Karav as a whole. The second part is the analysis of Karafu's role, mainly on the character of Prince Karafu. The fourth chapter is the music image analysis of Karav in the opera Turando. It is the key chapter of the full text, which is divided into two parts. The first part is mainly to analyze the musical image characteristics of Karafu. The second part is the analysis and artistic achievement of Karafu's two famous arias in opera. The fifth chapter is the similarities and differences between Karafu's aria and Puccini and other opera tenor aria. Mainly divided into three parts, mainly from the character characteristics, music creation techniques and music theme style analysis and research. Finally, the conclusion of the article
【學(xué)位授予單位】：陜西師范大學(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1條

1 秦超;論普契尼三部歌劇中的男主人公角色塑造[D];山東師范大學(xué);2010年

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本文編號(hào)：2502814