从三首作品看莫扎特歌剧中男低音咏叹调的写作手法与艺术特征
发布时间：2019-01-16 06:15
【摘要】：莫扎特是欧洲古典主义最伟大的古典作曲家之一,被誉为“音乐神童”、“音乐天才”,英年早逝的他却留下了大量的各种体裁的艺术价值极高的音乐作品,其中歌剧创作是其音乐创作的重要领域,在其短暂的一生中,从未停止过对歌剧的创作。时至今天莫扎特所创作的歌剧仍然保持着极高的上演率,深受中西方亿万人们的追捧,同时也被世界各地音乐院校当做课堂教学的教材。歌剧中的男声声部一共有三种,即男高音、男中音和男低音。在歌剧中每个声部所特有的音色与他们在剧中的角色是相对应的,这样既可以最大限度的展现他们的音色,更可以将他们要表现的歌剧人物表现的真实自然,更为鲜活。莫扎特早期的歌剧创作深受意大利正歌剧的影响,歌剧中各声部都是一味的炫技,由于男中音和男低音两个声部的音区和音色所限两个声部一直得不到重视。歌剧创作的逐渐成熟的莫扎特认识到了这一弊病,他借鉴格鲁克的歌剧改革思想,成熟期的歌剧创作打破了严格的声部等级制度,为了更好的表现不同的歌剧人物,男低音声部得到了重视,其中《费加罗的婚礼》、《魔笛》、《后宫诱逃》、《唐璜》等都能清晰的看到男低音声部的在剧中的重要性。本文通过对莫扎特三部具有代表性的歌剧中的三首男低音咏叹调作品作为研究对象,从三首咏叹调作品旋律特点、演唱特点、角色塑造、情感表达、肢体语言等方面进行深入分析,再结合自身的演唱经验对三首男低音咏叹调中的演唱技巧、戏剧冲突进行分析比较,以此对莫扎特歌剧创作中男低音咏叹调的写作手法与艺术特征一探究竟。
[Abstract]:Mozart is one of the greatest classical composers of European classicism, known as "musical prodigy" and "musical genius", but he left a large number of music works of various genres of art value. Opera creation is an important field of its music creation. In its short life, it has never stopped its creation of opera. To this day Mozart's operas remain highly popular among hundreds of millions of people in China and the West and are used as teaching materials in music schools around the world. There are three baritones in operas, tenor, baritone and bass. In the opera, the unique timbre of each voice part is corresponding to their characters in the play, which can not only show their timbre to the maximum extent, but also can show the real nature and freshness of the opera characters they want to perform. Mozart's early opera creation was deeply influenced by the Italian opera. Every part of the opera was always dazzling, because of the tone area and the tone color of the baritone and the bass, the two parts were not paid much attention to. Mozart, who was gradually mature in opera creation, realized this shortcoming. He drew lessons from Gruk's opera reform thought. The mature opera creation broke through the strict system of voice rating, in order to better express different opera characters. The bass part has been paid attention to, among them, Figaro's wedding, Pied Piper, Hougong and Don Juan can clearly see the importance of the bass in the play. This paper studies the three tenor aria works in Mozart's three representative operas, from the aspects of melody, singing characteristics, role shaping and emotional expression of the three aria works. Body language and other aspects of in-depth analysis, combined with their own singing experience in the three bass aria singing skills, drama conflict analysis and comparison, This paper explores the writing techniques and artistic features of baritone aria in Mozart's opera creation.
【学位授予单位】：西北民族大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J617.2
本文编号：2409545
[Abstract]:Mozart is one of the greatest classical composers of European classicism, known as "musical prodigy" and "musical genius", but he left a large number of music works of various genres of art value. Opera creation is an important field of its music creation. In its short life, it has never stopped its creation of opera. To this day Mozart's operas remain highly popular among hundreds of millions of people in China and the West and are used as teaching materials in music schools around the world. There are three baritones in operas, tenor, baritone and bass. In the opera, the unique timbre of each voice part is corresponding to their characters in the play, which can not only show their timbre to the maximum extent, but also can show the real nature and freshness of the opera characters they want to perform. Mozart's early opera creation was deeply influenced by the Italian opera. Every part of the opera was always dazzling, because of the tone area and the tone color of the baritone and the bass, the two parts were not paid much attention to. Mozart, who was gradually mature in opera creation, realized this shortcoming. He drew lessons from Gruk's opera reform thought. The mature opera creation broke through the strict system of voice rating, in order to better express different opera characters. The bass part has been paid attention to, among them, Figaro's wedding, Pied Piper, Hougong and Don Juan can clearly see the importance of the bass in the play. This paper studies the three tenor aria works in Mozart's three representative operas, from the aspects of melody, singing characteristics, role shaping and emotional expression of the three aria works. Body language and other aspects of in-depth analysis, combined with their own singing experience in the three bass aria singing skills, drama conflict analysis and comparison, This paper explores the writing techniques and artistic features of baritone aria in Mozart's opera creation.
【学位授予单位】：西北民族大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J617.2
【参考文献】
相关期刊论文 前1条
1 邢媛媛;;莫扎特音乐作品中的土耳其因素——以歌剧《后宫诱逃》和《土耳其进行曲》为例[J];人民音乐;2013年03期
，本文编号：2409545
本文链接：https://www.wllwen.com/wenyilunwen/xijuwudaolunwen/2409545.html
