【摘要】：重唱,屬于是一種較高水準(zhǔn)的聲樂(lè)表演藝術(shù)形式,本質(zhì)上是建立在單聲部不同演唱者同時(shí)對(duì)一首作品演唱表演的基礎(chǔ)之上,有著較為多變的聲部組合。通常重唱的形式有二重唱、三重唱至七重唱等,此外演唱者可以依據(jù)自身音色差異以及性別差異構(gòu)合為多樣的男女混聲重唱等等。可以說(shuō)重唱審美效果是較為多彩豐富的。重唱一直被應(yīng)用在西方歌劇表演藝術(shù)當(dāng)中,對(duì)于西方歌劇的發(fā)展起著重要的矛盾沖突色彩調(diào)節(jié)作用。當(dāng)前眾多的研究學(xué)者也將歌劇重唱教學(xué)以及歌劇重唱審美作為重點(diǎn)研究課題。本文正是基于此視角就歌劇重唱作品內(nèi)在審美形態(tài)做一些探索式的分析,以對(duì)歌劇重唱審美教學(xué)的規(guī)律進(jìn)行研究探討。
[Abstract]:Duet is a kind of high level vocal performing art form, which is essentially based on the simultaneous singing performance of different singles on a work, and has a more changeable combination of vocal parts. Usually, the form of duet is duet, trio to trio, and so on. In addition, singers can form a variety of mixed duet according to their own timbre differences and gender differences, and so on. It can be said that the aesthetic effect of duet is more colorful and rich. Duet has been used in western opera performing art all the time, which plays an important role in regulating the color of contradiction and conflict for the development of western opera. At present, many researchers also focus on opera duet teaching and opera duet aesthetics. Based on this perspective, this paper makes some exploratory analysis on the internal aesthetic form of opera duet works, in order to study and discuss the law of aesthetic teaching of opera duet.
【作者單位】： 波蘭克拉科夫音樂(lè)學(xué)院;內(nèi)蒙古藝術(shù)學(xué)院音樂(lè)學(xué)院;

【相似文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 徐立翔;論歌劇重唱的審美形態(tài)及其教學(xué)[D];湖南師范大學(xué);2007年

2 曹超君;莫扎特歌劇重唱的音樂(lè)與戲劇關(guān)系研究[D];上海音樂(lè)學(xué)院;2009年

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本文編號(hào)：2519574