贝利尼《梦游女》中阿米娜的形象塑造

发布时间：2018-05-02 06:35

本文选题：贝利尼 + 梦游女　；参考：《上海音乐学院》2009年硕士论文

【摘要】： 贝利尼是十九世纪意大利浪漫主义时期一位重要的歌剧作曲家。他独特的创作技法是以旋律塑造戏剧中的人物,同时也大大的推动了声乐技巧的发展。《梦游女》(La sonnambula,1831)是贝利尼真挚优美旋律的成熟风格代表作,也是一部具有浓郁的乡村气息的田园风格的“半正歌剧”。本文以贝利尼的《梦游女》中阿米娜的形象塑造为研究对象,对该剧的创作过程和艺术特征进行系统的梳理,并重点分析了阿米娜在脚本中和音乐中具体的形象塑造,以及对阿米娜的主要唱段的分析,使演唱者能更准确的把握形象,体现形象。通过对作曲家在塑造人物形象时所运用的音乐表现手法的深层的分析研究,力求接近作曲家对形象塑造的本意。本文从以下三个方面进行论述:第一部分是从歌剧《梦游女》的创作过程及艺术特征的角度出发,对整部歌剧进行宏观上的把握;第二部分是从脚本和音乐多个层面来论述阿米娜形象的塑造;第三部分是通过对阿米娜的两个主要唱段的分析,从而更深刻且细致地把握该形象的塑造。
[Abstract]:Bellini was an important opera composer during the Italian Romantic period in the nineteenth century. His unique creative technique is to shape the characters in drama by melody, but also greatly promote the development of vocal music skills. La sonnambula 1831) is a mature representative of Bellini's sincere and beautiful melody, and also a pastoral opera with a strong rural flavor. This paper takes the image of Aminay in Bellini's sleepwalker as the research object, systematically combs the creative process and artistic features of the play, and analyzes the specific image shaping of Aminay in the script and music. As well as the analysis of Aminay's main track, so that the singer can grasp the image more accurately, reflect the image. Through the deep analysis and research on the musical expression techniques used by the composers in the creation of characters, the author tries to approach the original intention of the composers in shaping the characters. This article from the following three aspects to discuss: the first part is from the opera "sleepwalker" creation process and the artistic characteristic angle, carries on the macroscopic grasp to the entire opera; The second part is from the script and music to discuss the image of Aminay from many levels; the third part is through the analysis of the two main passages of Aminay, so as to more deeply and meticulously grasp the shaping of the image.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J832

【引证文献】