| 本文所述十九世纪下半叶法国艺术歌曲，是指差别于德国利德歌曲的具有法国气质的“mélodie”。这类歌曲的构造不再局限于对称、分节的标准，它的声乐部门的旋律感有时乃至弱于钢琴伴奏的旋律感，声乐更依附于伴奏，和声和调性变更是营建意境的重要手段，而诗歌是作曲家首选的歌词。法国艺术歌曲的构成和成长与其说话和诗歌是分不开的。说话是一切体裁构成的基本，诗歌也不破例，要剖析以诗歌为歌词的声乐著作，法语论文，起首要从其说话动手，剖析声乐中说话和音乐的关系，懂得法语的汗青配景和其独有的语音特色。法语语音系统中丰硕的噪音为歌颂供给了优越的说话基本，但法语与其它印欧语系的说话的差别和特别性(特别在子音方面)也为演唱者带来了必定的难度。运用一门说话来歌颂，仅仅控制发音规矩是远远不敷的，在进修语音的基本上还应当赓续加深对法语语法的进修。在上述的说话基本上剖析诗歌的音乐性，再进入法国意味主义诗歌的剖析和重要作家著作的解读。意味主义诗人在他们的著作中贯彻其独有的审美准绳，使诗歌史无前例地与音乐联合。正如德国的利德歌曲与其时的艺术思潮亲密相干一样，19世纪下半叶的法国艺术歌曲与其时的艺术思潮更是密弗成分。以上的各种剖析均为了透辟地略论这个时代的法国艺术歌曲的内在接洽和内涵特点。作曲家遭到其时在文学、绘画等方面的新兴思潮的作用，加上法国一向独有的高尚、典雅、内敛的气质，以意味主义诗歌为歌词，运用极新的音乐手段，法语毕业论文，将艺术歌曲的成长推向了新的巅峰。 Abstract: The second half of the nineteenth century French art songs, is refers to the difference in the German lied with the French temperament "m e Lodie". This kind of song structure is no longer confined to the standard symmetric, segmented, the melody of the vocal Department sense sometimes even weak from a sense of the melody of piano accompaniment, vocal music is also more attached to the accompaniment, harmony and tonality modification is an important means of artistic conception of construction, and poetry is the composer's first choice of lyrics. The composition and development of French art songs are not separated from their speech and poetry. Speech is composed of all genres, poetry is not exceptional also, to analysis in poetry lyrics of vocal music chapeau should from the talk hands, analyzes the relationship between the vocal speech and music, know French history background and its unique voice characteristics. French phonetics system rich noise as a tribute to supply the superior speak basic, but the French and other Indo European languages of the language difference and the special (especially in consonant) for the singer brought certain difficulty. Application of a language to praise, only control the pronunciation rules is far from enough in study of speech basically should continuously enhance the learning of French grammar. In the above speech to basically analyze the music of poetry, and then enter the French meaning of poetry analysis and interpretation of important works of writers. It means that the poet in their works to carry out their own unique aesthetic principles, so that poetry is unprecedented in combination with music. As the German lied and the trend of art is closely related to the same, in the second half of the 19th century French art song and the trend of art is close. All of the above are analyzed in order to thorough analysis of this era of French art songs and the characteristics of the internal contact. Composer was the impact of the emerging trend of thought in literature and painting. At the time, France always unique noble, temperament elegant, restrained, by means of poetry lyrics, application brand-new means of music, art songs of growth towards a new peak. 目录: 内容摘要 4-5 Summary 5-6 序言 9-11 第一章 声乐中的语言与音乐的关系 11-22 第一节 声乐中的语言与音乐结合的必然性 11-12 第二节 语言与音乐结合的可能性 12 第三节 语言语音的一般属性 12-14 第四节 法语简史 14-15 第五节 法语语音 15-19 第六节 法语在歌唱中的应用 19-22 第二章 法国象征主义诗歌与音乐 22-33 第一节 诗歌本体的音乐性 22-24 第二节 象征主义在法国 24-25 第三节 象征主义诗歌的审美准则 25-33 第三章 法国十九世纪下半叶的艺术歌曲 33-60 第一节 文学和绘画对法国艺术歌曲的双重辐射 33-34 第二节 十九世纪下半叶的法国艺术歌曲 34-36 第三节 德彪西及其著作 36-48 第四节 福瑞及其著作 48-58 第五节 其他作曲家 58-60 总结 60-61 参考文献 61-63 致谢语 63 |
