本文選題：福雷 + 藝術(shù)歌曲�。� 參考：《華東師范大學(xué)》2008年碩士論文

【摘要】： 福雷是19世紀(jì)末20世紀(jì)初法國(guó)最有影響、最具代表性的藝術(shù)歌曲作曲家之一,也是民族音樂(lè)協(xié)會(huì)最早的參加者之一。他在60多年的創(chuàng)作生涯中,寫(xiě)了100多首藝術(shù)歌曲。聲樂(lè)套曲《美好的歌》是其創(chuàng)作中期的代表作品,而這部聲樂(lè)套曲更是福雷標(biāo)志性的巔峰之作。 法國(guó)藝術(shù)歌曲的前身是18世紀(jì)及19世紀(jì)前半期的浪漫曲(Romance),浪漫曲對(duì)法國(guó)藝術(shù)歌曲的影響,頗具研究?jī)r(jià)值。除此之外,“巴那斯派”與“象征派”詩(shī)人的作品,對(duì)法國(guó)藝術(shù)歌曲的創(chuàng)新,有很大的影響力。而早期的法國(guó)藝術(shù)歌曲作家,幾乎均采用此兩派詩(shī)人的詩(shī)篇譜曲。聲樂(lè)套曲《美好的歌》的歌詞取自魏爾蘭的同名詩(shī)集,魏爾蘭,是法國(guó)象征主義詩(shī)歌的主將之一。因此將19世紀(jì)法國(guó)的文學(xué)背景,尤其是“巴那斯派”與“象征派”對(duì)福雷藝術(shù)歌曲的影響,作為本文探討的重點(diǎn)之一。 本文通過(guò)對(duì)福雷的聲樂(lè)套曲《美好的歌》的形式結(jié)構(gòu)包括和聲、調(diào)性、鋼琴伴奏、織體、音程及音響等方面的分析,進(jìn)而根據(jù)本人的演唱體會(huì),結(jié)合福雷的創(chuàng)作特點(diǎn),從歌詞語(yǔ)言的處理、節(jié)奏的處理以及氣息的運(yùn)用與色彩的變化三方面進(jìn)行分析研究,從中總結(jié)福雷歌曲的創(chuàng)作風(fēng)格及其特點(diǎn)。本文又以歌詞的含義作為詮釋樂(lè)曲的依據(jù),進(jìn)而探討詩(shī)與音樂(lè)之間的相互關(guān)聯(lián),以求詩(shī)與音樂(lè)在盡可能確切的詮釋中融合為一。除此之外,由于伴奏在藝術(shù)歌曲中的重要地位,本文在歌曲研究中,包含了對(duì)鋼琴伴奏的探討與演奏詮釋的分析。力圖使這部作品的演繹通往最高藝術(shù)境界。
[Abstract]:Foley is one of the most influential and representative composers of art songs in France in the late 19th century and early 20th century, and also one of the earliest participants of the Folk Music Association. In his more than 60 years of writing career, he wrote more than 100 art songs. It is the representative work in the middle of its creation, and it is the iconic peak of Foley. The predecessor of French art songs is Romance, a romantic song in the 18th century and the first half of the 19th century. The influence of romantic songs on French art songs is of great research value. In addition, the works of Banas and symbolism have great influence on the innovation of French art songs. And the early French art songwriters almost all use the poems of these two schools of poets. The lyrics of the vocal suite "the beautiful song" are taken from Verran's book of poems of the same name, Verran, one of the main masters of French symbolism. Therefore, the influence of the French literary background in the 19th century, especially the Banas and the symbolism, on the Foley art songs is considered as one of the key points of this paper. Based on the analysis of the formal structure of Foley's vocal ensemble "the beautiful song", including harmony, tonality, piano accompaniment, texture, interval and acoustics, and in accordance with his own singing experience, this paper combines the creative characteristics of Fu Lei. This paper analyzes and studies the processing of lyric language, the processing of rhythm, the use of breath and the change of color, and summarizes the writing style and characteristics of Foley's songs. In this paper, the meaning of lyrics is taken as the basis for the interpretation of music, and then the relationship between poetry and music is discussed, so that poetry and music can be combined in the interpretation of music as accurately as possible. In addition, due to the important position of accompaniment in the art songs, this paper includes the analysis of the piano accompaniment and the interpretation of the piano accompaniment. Try to make the deduction of this work to the highest artistic state.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類號(hào)】：J616.2

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 王琳;福雷戲劇配樂(lè)《佩利亞斯與梅麗桑德》的音樂(lè)分析[D];上海音樂(lè)學(xué)院;2010年

2 趙金諾;福雷藝術(shù)歌曲探究[D];沈陽(yáng)師范大學(xué);2013年

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本文編號(hào)：1970811