【摘要】：張肖虎是古詩(shī)詞藝術(shù)歌曲創(chuàng)作的代表性作曲家之一。他的古詩(shī)詞藝術(shù)歌曲代表作有五首:為宋代李清照詞《聲聲慢》創(chuàng)作的歌曲、為南唐后主李煜詞《相見歡》創(chuàng)作的歌曲、為唐代賀知章詩(shī)《詠柳》創(chuàng)作的歌曲、為唐代李紳詩(shī)《憫農(nóng)》創(chuàng)作的歌曲、為明代王磬散曲《詠喇叭》創(chuàng)作的歌曲。張肖虎譜曲的這五首古詩(shī)詞藝術(shù)歌曲在藝術(shù)上特色鮮明。李清照的《聲聲慢·尋尋覓覓》是在國(guó)破家亡、流亡江南時(shí)創(chuàng)作的。此詞打破了上下片的局限,全詞一氣貫注,著意渲染愁情,如泣如訴,感人至深。張肖虎譜曲的《聲聲慢》為#F調(diào),為復(fù)二部曲式,整篇為鋼琴伴奏,多用分解和弦,中間夾雜著不少四五度、八度音程疊置,重復(fù)八度或低音的進(jìn)行等方式。李煜的《相見歡·無言獨(dú)上西樓》感情真摯,情深語(yǔ)切,深刻表達(dá)了詞人作為亡國(guó)之君的哀之痛、思之切。張肖虎譜曲的《相見歡》為C大調(diào),為單二部曲式,A1段與B1段是將前面A、B段的素材進(jìn)行加花變奏,前后各有一個(gè)前奏和尾聲。賀知章的《詠柳》是一首典型的詠物詩(shī),描寫的對(duì)象是初春二月的柳樹。詩(shī)人通過描繪和贊美柳樹,表達(dá)了情感深處對(duì)春天的萬般喜愛。張肖虎譜曲的《詠柳》為F大調(diào),為變奏曲式,大量運(yùn)用了轉(zhuǎn)位的七和弦、四五度、重復(fù)低音,在此基礎(chǔ)上,和聲所表現(xiàn)出來的色彩極具中國(guó)味。李紳的《憫農(nóng)》反映的是當(dāng)時(shí)農(nóng)民階層整體的生活境遇,批判了社會(huì)的不合理制度。詩(shī)人用神奇的穿越筆法,使得時(shí)間的鏈條自然而然的在我們的心中無意識(shí)地泛起了一種歲月蒼茫的感慨。張肖虎譜曲的《憫農(nóng)》為F大調(diào),再現(xiàn)單二部曲式,該曲和聲方面將中國(guó)傳統(tǒng)四五度音程疊置的和聲運(yùn)用到了極致。王磐的《詠喇叭》托物言志,通過揭露當(dāng)政宦官給人民帶來的深重災(zāi)難,真實(shí)且充分地反映了當(dāng)時(shí)宦官裝腔作勢(shì)的丑惡嘴臉。張肖虎譜曲的《詠喇叭》調(diào)式為E大調(diào),為再現(xiàn)單三部曲式,運(yùn)用了中國(guó)傳統(tǒng)四五度音程疊置的和聲體系。演唱張肖虎這五首古詩(shī)詞藝術(shù)歌曲,我們必須重視對(duì)作品情景、情感、聲韻、氣息等方面的準(zhǔn)確把握與處理。演唱《聲聲慢》要注意淡淡的愁思和欲說還休的感傷是整首歌曲的感情基調(diào)。最后一個(gè)字應(yīng)該高八度翻唱,并延長(zhǎng)至七拍,與之前的唱段在氣息的運(yùn)用上形成鮮明對(duì)比,表達(dá)出詞人欲說還休的惆悵與哀愁。演唱《相見歡》要注意全曲曲調(diào)晦暗哀怨,整體的曲速較慢,哀怨?jié)M腹,曲中有四處要采用哭聲演唱。演唱《詠柳》的A段應(yīng)盡量唱得連貫、柔美,A1段需要用奔放灑脫的音色來演唱,A2段必須激動(dòng)而深情地歌唱。演唱《憫農(nóng)》A段要采取一種輕聲悠揚(yáng)的哼唱方式,B段要用較低較沉重的曲調(diào)突出感嘆,A1段要唱得輕快活潑,B1段演唱可以稍微帶點(diǎn)哭腔和沙啞。演唱《詠喇叭》要注意此散曲是以旁觀者的角度來描述,采用的是一種戲謔又痛心的口吻,在演唱的時(shí)候要充分明白描述的角度,充分把握這種心情。
[Abstract]:Zhang Xiaohu is one of the representative composers of ancient poetry and song creation. His masterpieces of ancient poetry and art songs are composed of five songs: songs written for Li Qingzhao's ci "slow Sound" in Song Dynasty, songs written for Li Yu's ci poem "meet Huan", and songs written for Tang Dynasty's he Zhizhang poem "Chong Liu". Songs written for Li's poems of Tang Dynasty and Ming Dynasty. Zhang Xiao-Hu composed these five ancient poetry art songs with distinctive artistic characteristics. Li Qingzhao's slow search was created when the country broke down and went into exile. This word breaks down the limitation of the upper and lower films, the whole word is full of attention, meaning to render melancholy, sobbing, moving. The music composed by Zhang Xiao Hu is composed of # F tone, complex two-part form, piano accompaniment, multiple use of decomposed chords, with a number of four or five degrees, octave interval overlapping, repetition of octave or bass, and so on. Li Yu's feelings are sincere and deep, expressing the sorrow of the poet as the king of the nation. Zhang Xiaohu's "meet Huan" is in C major and single two-part form. The A1 and B1 paragraphs are a prelude and an end to each other. He Zhizhang's "Yongliu" is a typical chanting poem, which describes willow trees in early spring and February. By depicting and praising willow trees, poets express deep feelings of love for spring. The composition of Zhang Xiao Hu's Chong Liu is in F major and in the form of variation, which uses a large number of transposition of seven chords, four or five degrees, repeating bass. On this basis, the color of harmony is very Chinese. Li Sin's "pity for the Farmers" reflects the living conditions of the peasant class at that time and criticizes the unreasonable system of society. The poet made the chain of time come into being unconsciously in our hearts. Zhang Xiao Hu's song "pity for Agriculture" is in F major and reproduces a mono-bipartite form, which uses the harmony of Chinese traditional four-fifth-degree interval overlay to the extreme. Wang Pan's "Psalm of the trumpet", by exposing the deep disaster brought to the people by the eunuchs in power, truly and fully reflected the ugly face of the eunuchs at that time. In order to reproduce the single trilogy, the tune mode of Zhang Xiao Hu's composition is E major, and the Chinese traditional harmony system with four and five degrees interval is used. We must pay attention to accurately grasp and deal with the scene, emotion, rhyme, breath and so on of the five ancient poems and songs of Zhang Xiao Hu. In singing slow voice, we should pay attention to the emotional tone of the whole song. The last word should be high octave, and be extended to seven beats, and the use of the previous choir in sharp contrast to the use of breath, to express the poet's melancholy and sorrow. We should pay attention to the sad tune of the whole tune. The whole song is slow and full of sorrow. There are four songs to be sung by crying. As far as possible, paragraph A should be sung coherently and tenderly. Section A1 should be sung with a free and free tone, while paragraph A2 must sing passionately and affectionately. A section of "pity for agriculture" should adopt a kind of soft and melodious humming way, B paragraph should highlight the sigh with lower and heavier tunes, A1 paragraph should sing briskly and lively, and B1 paragraph singing could bring a little cry and hoarse. In singing the trumpet, we should note that the scattered song is described from a bystander's point of view and adopts a sarcastic and painful tone. When singing, one should fully understand the angle of description and fully grasp the mood.
【學(xué)位授予單位】：湖南科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J614;J616.2

【相似文獻(xiàn)】

中國(guó)期刊全文數(shù)據(jù)庫(kù) 前10條

1 李雁賓;紀(jì)念張肖虎教授誕辰90周年[J];中國(guó)音樂;2004年02期

2 王照乾;紀(jì)念著名音樂家張肖虎先生[J];中國(guó)音樂;1997年02期

3 徐曉林;憶張肖虎先生點(diǎn)滴[J];中國(guó)音樂;1997年02期

4 張靜蔚 ,詹麗瑚;張肖虎教授音樂活動(dòng)年表[J];中國(guó)音樂;1988年03期

5 麗瑚;慶祝張肖虎教授從事音樂工作五十五周年[J];中國(guó)音樂;1988年02期

6 王照乾;橫看成嶺 側(cè)看成峰——著名教授、作曲家張肖虎先生音樂生涯五十五周年[J];人民音樂;1988年11期

7 郭夏霞;初冬時(shí)節(jié)聽“白雪”——聽張肖虎作品獨(dú)唱音樂會(huì)[J];人民音樂;1993年03期

8 周勤如;我與張肖虎先生[J];中國(guó)音樂;1999年03期

9 苗晶;張肖虎先生是我的啟蒙老師——回憶三十年代末四十年代中期張先生在天津的音樂活動(dòng)[J];中國(guó)音樂;1999年02期

10 劉新一;“清靜高遠(yuǎn)”——緬懷張肖虎音樂教育思想精髓[J];人民音樂;2005年02期

中國(guó)重要會(huì)議論文全文數(shù)據(jù)庫(kù) 前1條

1 田曉寶;王冬;;淺談福列藝術(shù)歌曲的創(chuàng)作風(fēng)格[A];高等黨校藝術(shù)教育理論研究與實(shí)踐[C];2002年

中國(guó)重要報(bào)紙全文數(shù)據(jù)庫(kù) 前10條

1 郭夏霞;藝術(shù)家首先是教育者[N];音樂周報(bào);2004年

2 劉寧希;普及藝術(shù)歌曲[N];安徽日?qǐng)?bào);2000年

3 和平;讓藝術(shù)歌曲走進(jìn)生活[N];中國(guó)教育報(bào);2000年

4 吳銘;藝術(shù)歌曲呼喚新“經(jīng)典”[N];中國(guó)文化報(bào);2002年

5 于平;讓“藝術(shù)歌曲”走向“群眾歌詠”[N];光明日?qǐng)?bào);2001年

6 本報(bào)記者 劉瓊;藝術(shù)歌曲比賽試出真金[N];人民日?qǐng)?bào);2000年

7 蕭冷;藝術(shù)歌曲漫談[N];音樂周報(bào);2004年

8 姚紅衛(wèi);“藝術(shù)歌曲”稱謂應(yīng)規(guī)范[N];音樂周報(bào);2007年

9 潘麗君;法國(guó)藝術(shù)歌曲及演唱要義（上）[N];音樂周報(bào);2008年

10 徐漣;為普及藝術(shù)歌曲盡力[N];中國(guó)文化報(bào);2000年

中國(guó)碩士學(xué)位論文全文數(shù)據(jù)庫(kù) 前10條

1 陳麗莎;張肖虎五首古詩(shī)詞藝術(shù)歌曲的藝術(shù)分析和演唱研究[D];湖南科技大學(xué);2017年

2 方賢君;從藝術(shù)歌曲的界定看建國(guó)以來中國(guó)藝術(shù)歌曲的特征[D];云南藝術(shù)學(xué)院;2010年

3 劉也愚;藝術(shù)歌曲的體裁界定及其藝術(shù)特征[D];上海音樂學(xué)院;2010年

4 杜鄉(xiāng);十九世紀(jì)德法藝術(shù)歌曲審美及比較[D];首都師范大學(xué);2002年

5 秦曉燕;德國(guó)早期藝術(shù)歌曲研究[D];湖南師范大學(xué);2002年

6 常晶;論二十世紀(jì)后期我國(guó)藝術(shù)歌曲的風(fēng)格特征[D];南京藝術(shù)學(xué)院;2003年

7 張盈;十九世紀(jì)下半葉德奧藝術(shù)歌曲與法國(guó)藝術(shù)歌曲的風(fēng)格異同之初探[D];西南大學(xué);2008年

8 趙亞男;十九世紀(jì)德法意藝術(shù)歌曲之比較研究[D];山東師范大學(xué);2012年

9 閆妍;西方藝術(shù)歌曲溯源及其在中國(guó)的發(fā)展[D];遼寧師范大學(xué);2013年

10 楊雪;福列法國(guó)藝術(shù)歌曲中詩(shī)歌內(nèi)涵的音樂詮釋[D];華東師范大學(xué);2015年

，

本文編號(hào)：2392455