本文關(guān)鍵詞：聲樂表演與性格特征—兼論曲目的選擇　出處：《曲阜師范大學(xué)》2008年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 情感 視界融合 性格 性格化 人格完善

【摘要】： 任何藝術(shù)活動(dòng)都是人的主體行為,而人的主體行為又受控于人的心理活動(dòng)。人的一切活動(dòng)都離不開心理。聲樂藝術(shù)活動(dòng)不僅不能離開行為人的心理活動(dòng),而且必然以這些人的心理活動(dòng)為基礎(chǔ)。在學(xué)習(xí)聲樂表演的過程中,本人注意到,演唱者在對(duì)作品進(jìn)行二度創(chuàng)作的過程中,有著一定的轉(zhuǎn)達(dá)責(zé)任,即轉(zhuǎn)達(dá)創(chuàng)作者的情感。作品的情感是作品本身特定性格的一種展示,作品的性格又是創(chuàng)作者所賦予的性格,演唱者的性格與作品的性格之間是否有必要建立一種選擇性的關(guān)系,在對(duì)作品進(jìn)行二度創(chuàng)作時(shí),我們是否能找到這樣一種平衡,即作品的性格特征與聲樂表演者的性格特征相接近而產(chǎn)生的共鳴呢?帶著對(duì)這個(gè)想法的濃厚興趣,在翻閱相關(guān)學(xué)習(xí)材料的一段較長(zhǎng)時(shí)間內(nèi),先后涉獵了心理學(xué)、聲樂表演、聲樂藝術(shù)心理學(xué)、聲樂美學(xué)、音樂教育哲學(xué)等多門學(xué)科,查閱了包括聲樂作品庫在內(nèi)的大量作品實(shí)例。 雖然,很多教科書上已經(jīng)把“動(dòng)情的歌唱”作為演唱者感動(dòng)欣賞者的最好方法,并教之于學(xué)生,但對(duì)如何才能找到一條讓演唱者更好的動(dòng)情并更好的感染聽眾的最佳途徑,始終沒有一個(gè)突破。近年來,交叉學(xué)科一直被廣為關(guān)注,雖然聲樂表演與心理學(xué)這兩個(gè)學(xué)科的交叉學(xué)科受到了越來越多的重視,但是對(duì)這個(gè)最佳途徑如何才能最終達(dá)成的研究,卻是一個(gè)鮮為被提及的課題。學(xué)生的學(xué)習(xí)方法往往是只注意所學(xué)的單門專業(yè),而學(xué)習(xí)過程中往往忽略了自我的個(gè)性發(fā)展。學(xué)生而言,其基本功都比較扎實(shí),但是往往缺乏對(duì)音樂的全面理解和自我的一種真正釋放。學(xué)生的大部分課余時(shí)間都是用來完成教師所布置的曲目,而不是進(jìn)行獨(dú)立的思考和選擇,所以,在專業(yè)技巧得到單方面鍛煉的同時(shí),常常忽略了進(jìn)行積極的自我分析,關(guān)注自身特點(diǎn)并依照自身性格特征對(duì)演唱曲目進(jìn)行有效性選擇。如能培養(yǎng)學(xué)生這種自我分析的能力,相信不僅對(duì)專業(yè)技巧方面的把握,而且對(duì)人格的自我完善方面都會(huì)起到積極的作用。 本文運(yùn)用文獻(xiàn)資料分析法、比較分析法、實(shí)例論證法、經(jīng)驗(yàn)總結(jié)法等方法,通過如下幾個(gè)部分的闡述來層層遞進(jìn)的闡述論題。 第一部分,從聲樂表演藝術(shù)的角度論述。這部分主要包括四個(gè)方面:聲樂表演藝術(shù)的創(chuàng)作過程要求演唱者恰如其分的動(dòng)情;承擔(dān)二度創(chuàng)作的演唱者需要切身體驗(yàn)音樂中的情感內(nèi)涵;聲樂表演者的二度創(chuàng)作過程是一個(gè)實(shí)現(xiàn)視界融合的過程;聲樂表演者探尋實(shí)現(xiàn)視界融合的有效而直接的途徑。 第二部分,從性格的角度論述。這部分主要包括三個(gè)方面:首先,簡(jiǎn)略引入性格這一名詞的定義;其次,就聲樂表演者應(yīng)該如何將視界融合與自身的性格特征進(jìn)行有機(jī)的結(jié)合;再次,從五個(gè)方面闡述性格類型的匹配問題。 第三部分,聲樂表演者的性格與作品的性格的互選。從舉例一部分聲樂作品的性格特征和聲樂表演者應(yīng)該涉獵非自身性格類型的作品這兩個(gè)大的部分來分析和說明。 第四部分,從完善性格的角度闡述。通過闡述性格的完善、演唱者對(duì)性格化的把握以及聲樂表演者塑造良好性格的重要性這三個(gè)方面來解析人格完善這一目的。
[Abstract]:Any art activities are subject to human behavior, and human behavior is controlled by the psychological activities. All activities of people cannot do without psychological. Vocal art activities not only can not leave the behavior of people's mental activity, and is bound to these people's psychological activities as a basis. In the process of learning vocal music performance. I noticed that the singer in the process of creation of two works, there is a certain responsibility to convey, which convey the creator's emotion. The emotion of the works is a display specific character of the work itself, work character is assigned to the creator's character, whether there is a need to establish a selective relationship between the singer's character and the work character in the creation of two degrees on the work, whether we can find such a balance, the character and character of vocal music performer works is close to the Resonate? With a strong interest in the idea, in a long period of time to read the relevant learning materials, has dabbled in psychology, vocal performance, vocal music psychology, vocal music aesthetics, music education philosophy and other disciplines, including access to the vocal music library in a large number of works.
Although many textbooks have the best way to "emotional singing" as the singer appreciating person, and to teach students, but the best way to find the audience with a let the singer better and better to move, there is not a breakthrough. In recent years, cross discipline has been wide attention, although the interdisciplinary vocal performance and psychology of these two disciplines have attracted more and more attention, but the best way to reach a study, is a rarely mentioned topic. Students' learning methods are often only pay attention to the single professional, and the learning process often ignoring the self personality development. The students, the basic skills are solid, but often lack a comprehensive understanding of music and a real self release. Most of the students' spare time are used to Complete the teacher assigned tracks, rather than independent thinking and choice, so get a unilateral exercise at the same time in the professional skills, often ignored the positive self analysis, pay attention to their own characteristics and effectiveness of the selection of the songs according to their own characteristics. As to cultivate students' ability of this self analysis, believe not only for professional skills to grasp, and the self perfection of personality will play a positive role.
In this paper, we use the methods of literature analysis, comparative analysis, case argumentation, experience summarization and so on. Through the following parts, we will explain the topic progressively.
The first part discusses the art of vocal music performance point of view. This part mainly includes four aspects: the creation of the art of vocal music performance for the singer's emotional commitment to a proper extent; two degree creation singer to experience emotional connotation in music creation process; two vocal performers is a process of fusion of horizons; vocal performers to achieve effective and direct way to explore the fusion of horizons.
The second part discusses from the character's point of view. This part mainly includes three aspects: first, a brief introduction of the definition of the character of this term; secondly, it should be how to vocal performers horizon fusion combined and its character; again, this type of character matching problem from five aspects.
The third part, the vocal music performer's character and the work character of the elected. From the character and vocal performers an example of part of the vocal works should be covered the two parts of non self personality type works analysis and description.
The fourth part, from the perspective of improving the character, elaborates the purpose of personality improvement through the following three aspects: the improvement of character, the recognition of character by singer and the importance of vocal performers shaping good personality.

【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類號(hào)】：J616

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 周玲;談歌劇的喧敘調(diào)與詠嘆調(diào)[J];河南師范大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);1999年04期

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本文編號(hào)：1357882