| 在中国现代歌剧范畴中，歌剧洪湖赤卫队在其重要唱段与人物脚色塑造都是胜利的，可可谓为歌剧中的经典剧作。这部创作于1958年，由梅少山、杨会召编剧，欧阳谦书、张敬安作曲，夏奎斌、王玉珍等人主演的六场歌剧，从1959年的首场胜利表演开端，到今朝曾经表演了1500多场次，深受国民大众的爱好。本文联合洪湖赤卫队所处的时期配景，以洪湖赤卫队中韩英的人物抽象塑造和重要唱段为重要研究对象，从音乐、戏剧及演唱处置等几个方面临其停止了深刻的研究。洪湖赤卫队经由过程使歌颂和扮演、音乐和戏剧的完善联合，韩语论文，塑造了一个仁慈、朴素、勇敢武断、坚毅不平的巨大的反动豪杰抽象。本文重要分以下四个部门对洪湖赤卫队停止了深刻的研究：第一部门：阐述了洪湖赤卫队发生的时期配景及其音乐创作；第二部门：剖析研究了歌剧中韩英人物抽象的塑造及其审美价值；第三部门：从音乐与戏剧的互相关系动身，剖析、研究了洪湖赤卫队中的重要唱段；第四部门：阐述了歌剧洪湖赤卫队对平易近族歌剧创作及声乐演唱发生的严重深远作用。经由过程对洪湖赤卫队深刻的研究，笔者以为一部优良的中公民族歌剧必需起源于生涯，并回归到生涯中去，在此基本上赓续发掘中公民族音乐的潜力，保持走多元化道路。 Abstract: In the category of modern Chinese opera, opera Honghu shape in the aria and character role is victory, cocoa predicate for the opera in the classic drama. The creation in 1958, by Mei Shaoshan, Yang Huizhao screenwriter, composer Qian Ouyang book, China, Xia Kuibin, Wang Yuzhen, who starred in the opera, from 1959 to win their first performances beginning, to today has performed more than 1500 performances, by national public interests. Combined Honghu era background, in the Honghu Korean English characters and important aria as main object of study, from music, drama and singing disposal near its stopped deep discussion. The Honghu through to sing and play, music and drama of the perfect combination, created a kindness, simplicity, brave and arbitrary, perseverance, uneven huge reactionary hero abstract. Important. This paper is divided into the following four parts of the Honghu stop the deep discussion: First Department: describes the Honghu era background and music creation; the second Department: analysis and study the opera of China and South Korea English character image and its aesthetic value; the third sector: from the interrelationship between music and Drama to start, to analyze and research the the Honghu aria; the Fourth Department: describes the opera Honghu of plain near family opera creation and singing of the occurrence of severe profound influence. Through on the Honghu profound research, I think a excellent public national opera essential origin in career, and return to the life, on this basis to continuously explore ethnic music has the potential to be, keep take the path of diversification. 目录: 摘要 3-4 Abstract 4 引言 7-10 第一章 歌剧洪湖赤卫队的创作概况 10-20 1.1 歌剧洪湖赤卫队的创作背景 10-13 1.1.1 历史背景 10-12 1.1.2 创作团队 12 1.1.3 剧情简介 12-13 1.2 歌剧洪湖赤卫队的音乐创作 13-20 第二章 歌剧洪湖赤卫队中韩英人物形象的塑造及其审美价值 20-30 2.1 音乐形象塑造 20-26 2.1.1 韩英“渔家女”形象 21-23 2.1.2 韩英“英雄儿女”形象 23-26 2.2 戏剧形象塑造 26-27 2.2.1 革命领导人——沉着、理智、果断 26-27 2.2.2 洪湖女儿——勤劳、淳朴、善良 27 2.2.3 革命英雄——勇敢、坚定、崇高 27 2.3 韩英人物形象塑造的审美价值 27-30 第三章 韩英主要唱段综合略论及演唱处理 30-45 3.1 韩英主要唱段略论 30-35 3.2 韩英主要唱段演唱处理 35-45 3.2.1 洪湖水,浪打浪演唱处理 36-38 3.2.2 没有眼泪,没有悲伤演唱处理 38-41 3.2.3 看天下劳苦人民都解放演唱处理 41-45 第四章 歌剧洪湖赤卫队对之后民族歌剧音乐创作及演唱的作用 45-51 4.1 歌剧洪湖赤卫队对歌剧创作产生的作用 45-47 4.1.1 歌剧洪湖赤卫队对之后民族歌剧的音乐创作产生的作用 45-46 4.1.2 歌剧洪湖赤卫队创作的民族性与多元化对民族歌剧创作的作用 46-47 4.2 歌剧洪湖赤卫队对民族歌剧演唱产生的作用 47-51 4.2.1 唱腔方面 47-48 4.2.2 表演方面 48-51 结语 51-52 参考文献 52-55 致谢 55-56 |
