本文關(guān)鍵詞：威爾第歌劇男中音詠嘆調(diào)演唱風格研究，由筆耕文化傳播整理發(fā)布。

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新疆師范大學(xué)碩士學(xué)位論文威爾第歌劇男中音詠嘆調(diào)演唱風格研究姓名:蘇丹申請學(xué)位級別:碩士專業(yè):音樂學(xué)指導(dǎo)教師:王蕾2009-06-08I中文摘要朱賽佩·威爾第是19世紀下半葉意大利最偉大的歌劇大師,在他一生創(chuàng)作的二十六部歌劇中,有六部歌劇由男中音擔任第一主角。威爾第的歌劇創(chuàng)作推動了男中音聲部的發(fā)展,使男中音在歌劇演出中的地位大幅提升。并且,威爾第的歌劇創(chuàng)作更加注重對人物內(nèi)心的刻畫和現(xiàn)實生活的寫實,所以威爾第在歌劇中為我們塑造了很多深入人心的具有多重性格的人物形象。而其創(chuàng)作的男中音詠嘆調(diào),也極大的增強了戲劇性的張力,拓寬了男中音的音域,豐富了男中音音色的戲劇表現(xiàn)力。所以,在演唱威爾第的男中音詠嘆調(diào)時,不論是在人物性格的把握還是在演唱技巧的處理上,都對演唱者提出了與以往作曲家不同的要求。文章通過對威爾第歌劇創(chuàng)作歷程的梳理,得出其基本的歌劇創(chuàng)作理念。然后對威爾第的五部歌劇中五個具有代表性的男中音人物形象進行角色塑造的分析,并對每個人物的代表性詠嘆調(diào)進行音樂本體分析,從而總結(jié)出每首作品的演唱風格。最后終總結(jié)梳理出,如何準確的把握威爾第歌劇中男中音詠嘆調(diào)的演唱風格。文章分為六個部分:第一部分,緒論;第二部分,威爾第的生平及歌劇創(chuàng)作歷程,通過對威爾第的生平和歌劇創(chuàng)作歷程進行簡單的梳理與總結(jié),得出其基本的歌劇創(chuàng)作理念和不同時期的歌劇創(chuàng)作風格。第三部分,威爾第歌劇中男中音角色的塑造,通過分析威爾第的五部歌劇中五個具有代表性的男中音人物形象的角色塑造,總結(jié)出這五個人物形象在歌劇中的多重性格。第四部分,威爾第歌劇中五首代表性男中音詠嘆調(diào)的演唱風格研究,通過對這五個人物形象代表性詠嘆調(diào)的音樂分析,結(jié)合上一章人物性格塑造的分析,總結(jié)出每首詠嘆調(diào)的演唱風格。第五部分,威爾第男中音歌劇詠嘆調(diào)演唱風格的把握,總結(jié)梳理出在準確的把握威爾第歌劇中男中音詠嘆調(diào)的演唱風格時,所要注重的多重性格人物的情感把握與強烈戲劇性和寬廣音域下的技巧運用。第六部分,結(jié)語。關(guān)鍵詞:威爾第, 男中音, 詠嘆調(diào), 演唱風格, IIAbstractGiuseppe·Verdi is greatest opera master of half page of 19th century in Italy. hecreated 26 operas in his life, six operas was starred by the baritone. Verdi’s opera push forward the development of baritone musical part, and promoted the place of baritone in opera. Further more, the Verdi’s opera pays great attention to describe the innermost feelings and real life. Verdi portrayed many images of multiplepersonality which filter into the hearts of the people. The baritone aria, which wrote by Verdi, also enhances theatrical tensity, opened up baritone's range, and enriched the expressive force of baritone timbre play. Therefore, when singer sings baritone aria, not only does know the characteristic, but also deal with vocal skill, higher requirement should be met. This article click b the creation process in order to obtain the basic creation idea of opera and try to analyze the five representatives of baritone character in the process of molding character, And to analyze five character's representative aria on music main body and analyses the singing style. Finally, this paper provides the solution to grasp the singing style of Veridi’s baritone timbre play.The paper is consist of six part: the first part, introduction, the second part, the introduction of Verdi and the process of creation, summarize the work and get the idea and style of opera creation, the third part analyze the five character andsummarize the multi-character of the image in the opera, the fourth part try to analyze the style of the singing and summarize the character of aria. The fifth part try to probe the skills which used by baritone in the Verdi’s aria opera. The last part is conclusion.Key words: Verdi, Baritone, Aria, Singing style 新疆師范大學(xué)位論文原創(chuàng)性聲明本人鄭重聲明: 所呈交的學(xué)位論文,是本人在導(dǎo)師的指導(dǎo)下,獨立進行研究工作所取得的成果。除文中已經(jīng)注明引用的內(nèi)容外,本論文不含任何其他個人或集體已經(jīng)發(fā)表或撰寫過的作品成果。對本文的研究做出重要貢獻的個人和集體,均已在文中以明確方式標明。本人完全意識到本聲明的法律結(jié)果由本人承擔。學(xué)位論文作者簽名:日期: 年 月 日關(guān)于論文使用授權(quán)的說明學(xué)位論文作者完全了解新疆師范大學(xué)有關(guān)保留和使用學(xué)位論文的規(guī)定,即:研究生在校攻讀學(xué)位期間論文工作的知識產(chǎn)權(quán)單位屬新疆師范大學(xué)。學(xué)校有權(quán)保留并向國家有關(guān)部門或機構(gòu)送交論文的復(fù)印件和電子版,允許學(xué)位論文被查閱和借閱;學(xué)校可以公布學(xué)位論文的全部或部分內(nèi)容,可以允許采用影印、縮印或其它復(fù)制手

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  本文關(guān)鍵詞：威爾第歌劇男中音詠嘆調(diào)演唱風格研究，由筆耕文化傳播整理發(fā)布。