论莫扎特歌剧《魔笛》中萨拉斯特罗的人物形象塑造

发布时间：2018-03-03 07:28

本文选题：席卡内德　切入点：祭司　出处：《上海音乐学院》2017年硕士论文　论文类型：学位论文

【摘要】：《魔笛》是莫扎特最后一部歌剧,创作于1791年,不仅体现了莫扎特在音乐方面高超的作曲技巧,同时表达了共济会思想。本文选取萨拉斯特罗(Sarastro)这一人物形象作为研究对象,通过作者和创作背景的介绍,同时结合脚本分析剧中萨拉斯特罗与不同人物的不同关系,剖析其多方面的性格特点。本文还将结合乐谱,通过对萨拉斯特罗角色歌唱部分的和声、调性等方面的分析,阐释萨拉斯特罗的音乐形象及演绎中应注意的事项。实际演出中,在客观条件不同的情况下,如何以不同的方式演绎角色性格就变得十分重要。笔者希望本文能尽可能多地为今后演唱者提供萨拉斯特罗角色演绎的参考。《魔笛》还有非常多的方面可以供人研究。笔者希望通过对萨拉斯特罗形象的分析和塑造,令更多学术的目光转向歌剧中非主要角色的形象研究,不断丰富对歌剧人物的探究和讨论。
[Abstract]:"Pied Piper" is Mozart's last opera, written in 1791. It not only embodies Mozart's excellent music skills, but also expresses the Freemasonic thought. Through the introduction of the author and the background of the creation, and the analysis of the different relations between Salastrow and different characters in the play with the script, the author will also analyze its various personality characteristics. Based on the analysis of the harmony and tonality of the part of Salastrow's song and singing, this paper explains the musical image of Salastrow and the matters to be paid attention to in the deduction. In the actual performance, under different objective conditions, How to deduce the character in different ways becomes very important. I hope this article can provide as much reference for the singer as possible in the future. There are many aspects for people to do. The author hopes to analyze and shape the image of Salastrow. So that more academic eyes turn to the study of the image of non-main characters in opera, and enrich the exploration and discussion of opera characters.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J617.2;J832

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