歌剧《苍原》中娜仁高娃咏叹调演唱技巧及特征研究

发布时间：2019-04-24 06:50

【摘要】：歌剧《苍原》为辽宁歌剧院通过改编土尔扈特蒙古族部落不堪沙皇俄国的侵略而进行的全族回归中国故土天山的真实历史事件。通过西洋作曲法创作和美声唱法中国化结合到一起首推的一部中国民族大型歌剧,《苍原》也随之成为各大歌舞剧院等团队排演歌剧的一部标杆,成为了歌剧音乐民族化发展的成功之作。本文以歌剧《苍原》两首抒情与花腔女高音咏叹调入手分析,通过演唱研究歌剧表演艺术中的演唱技巧与音乐特征,进而把涉及到的理论与研究和切身经验中深刻感悟梳理开来,通过本系指导老师排演歌剧时不断提高的歌唱功底、表演经验和参考文献研究,从歌剧中国民族化歌剧音乐美学与歌剧人物形象分析为根本,也把中国歌剧从老一辈作曲家艺术家们孤军奋战到歌剧音乐蓬勃发展的历程中,感受中国歌剧发展中民族音乐的独特魅力与巨大影响。同时,本文分为四个部分:第一章绪论部分首先分析歌剧《苍原》这部作品在当下研究方向和方法进行简要的介绍,引出本文涉及到的论点与论据。第二章从歌剧《苍原》的创作背景、时代背景与历史文化背景介绍,进行比较分析。再从文学脚本与歌剧剧本上分析剧情与矛盾冲突,将矛盾冲突线与人物形象进行穿针引线,使得人物形象更加具体化、清晰化、明朗化。第三章则在整部歌剧的音乐风格特征上研究,将少数民族音乐、佛教音乐与舞台美术等方面进行诠释,为女高音咏叹调的情感把握与人物形象的演绎起到了基石的作用。第四章则从两首难度较大的女高音咏叹调《情歌》和《我们都将得到永生》的演唱技巧与音乐特征为切入点,着重作品的调式调性分析、歌唱的想象与情感变化处理,蒙古族长调音乐的演唱风格运用以及呼吸、咬字在歌唱中的重要性。
[Abstract]:The opera Cangyuan is a true historical event of the whole family returning to Tianshan, the native land of China, by adapting the Mongolian tribe of Tuerkut to invade the czarist Russia. "Cangyuan" also became a benchmark for the rehearsal of operas by groups such as the major opera theaters and dance theaters, which was first promoted by the combination of Western composers and mercery singing and singing in China. Has become the opera music nationalization development success. This article starts with the analysis of two lyric and flowery soprano aria in the opera "Cangyuan", and studies the singing skills and musical characteristics of the opera performing art through singing. Then the theory and research involved in the deep understanding and personal experience combed out, through the Department's instructor rehearsal opera constantly improved singing skills, performance experience and literature research, From the Chinese opera nationalization opera music aesthetics and opera character image analysis as the foundation, also put the Chinese opera from the older generation composer artists to fight alone to the opera music flourishing development course. Feel the unique charm and great influence of folk music in the development of Chinese opera. At the same time, this paper is divided into four parts: the first chapter, the introduction part first analyzes the opera "Cangyuan" works in the current research direction and methods for a brief introduction, leading to the thesis involved in the arguments and arguments. The second chapter makes a comparative analysis from the creative background, the time background and the historical and cultural background of the opera Cangyuan. Then from the literary script and opera script to analyze the plot and contradiction conflict, the contradiction conflict line and the character image to carry on the pin lead, makes the character image more concrete, the clear, the clear. The third chapter studies the musical style characteristics of the whole opera, and interprets the minority music, Buddhist music and stage art, which plays a cornerstone role in the emotional grasp of the soprano aria and the interpretation of the character image. The fourth chapter is from the two difficult soprano aria "Love Song" and "We will get eternal life" singing skills and musical characteristics as the starting point, focusing on the work's tone analysis, singing imagination and emotional changes. Mongolian long-tune music singing style use and breathing, bite in the importance of singing.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J617.2

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