| 18世纪至19世纪，在阅历拿破仑专制统治和剧烈的阶层奋斗以后，法国音乐文明赓续地受浪漫主义文艺思潮的作用，涌现一批反应时期文明的优良歌剧著作。在阅历了漫长的声乐成长后，法语毕业论文，比才与圣桑适应了时期的潮水创作了歌剧卡门及参孙与达丽拉，法语论文范文，这两部歌剧为19世纪以女中音为配角的法国抒怀歌剧的代表作。本文最后在研究时，发明19世纪法国歌剧中，以女中音为配角的著作少之又少，而女中音这类“险恶”抽象的著作仅存卡门及参孙与达丽拉两部，对纯真剖析这两部歌剧著作及个中咏叹调的文章较多，但将两者相联合剖析卡门和达丽拉人物抽象及咏叹调的著作简直没有，以哈巴涅拉和我兴高采烈这两首咏叹调为例谈女中音练习的文章也是简直没有，所以自己就以19世纪法国歌剧卡门、参孙与达丽拉及个中人物和咏叹调为研究对象，经由过程对哈巴涅拉、我兴高采烈两首咏叹调的音乐剖析，联合现实声乐的练习进修对于女中音在技能和扮演方面的练习。个中第三章和第四章为本文的阐述重点。本文第一章简略引见19世纪法国歌剧的成长和19世纪法国有名的作曲家；第二章就女中音的成长和分类停止了简略的概述，本章中对意年夜利和法国19世纪女中音著作及人物抽象停止了比拟；第三章对卡门和达丽拉的两首咏叹调哈巴涅拉和我兴高采烈停止音乐及人物的剖析；第四章自己以第三章所剖析的两首咏叹调为例，而且联合现实声乐练习，就女中音声乐基本和扮演的练习停止了阐述。本文就19世纪法国歌剧汗青及19世纪法国与意年夜利女中音比拟为铺垫，经由过程对哈巴涅拉和我兴高采烈的音乐剖析为主线，以此为例从而阐述了女中音的练习，愿望可以或许为宽大女中音歌者供给进修的自创。 Abstract: From the 18th century to the mid-19th century, after a severe class of experience Napoleon dictatorship and struggle, the French music culture ceaselessly by romantic trend of thought in literature and art, the emergence of a number of reaction period civilization excellent opera works. After the experience of a long vocal growth, Bizet and Camille adapted to the period of the tide of the creation of the opera "Carmen" and "Samson and Delilah", the opera is representative of the 19th century to Mezzo Soprano role of French Lyric Opera. At the end of the study, the invention of French opera in nineteenth Century, to contraltos supporting works less and less, and this kind of "sinister" mezzo abstract works only "Carmen" and "Samson and Dalila" two, the pure analysis of this opera works and the two Arias more articles, but the combination of both Carmen and Dalila characters analysis of abstract and arias works hardly, and "I" to "Habanera" jubilant these two Arias for example about the article is mezzo practice hardly, so he in nineteenth Century the French opera "Carmen", "Samson and Dalila" and Chinese characters and arias as the research object, through the process of "Habanera", "I" jubilant two arias of music analysis, combined with the reality of vocal exercises learn about soprano in The playing skills and practice. The third chapter and the fourth chapter is the focus of this paper. In this paper, the first chapter is a brief introduction of the 19th century the growth of French opera and 19th century French famous composer; the second chapter is the growth and classification of Mezzo Soprano stopped a brief overview, this chapter to Italy and France in the 19th century Mezzo Soprano works and characters in the image to carry on the comparison; third chapter of Carmen and Delilah first two Aria "Habanera" and "I am elated" to stop music and character analysis; Chapter IV himself in the third chapter the analysis of the first two aria as an example and combined with practical vocal exercises, is Mezzo Soprano vocal basic and play the practice to carry on the elaboration. The 19th century French opera history and 19th century French and Italian Italian mezzo compared to pave the way, through the process of "Habanera" and "I am elated" music analysis as the main line. This is an example which illustrates the practice of Mezzo Soprano, desire can perhaps for large Mezzo Soprano singer supply study of internally generated. 目录: 摘要 3-4 Abstract 4 引言 6 第一章 19 世纪法国歌剧及作曲家 6-10 第1节 19 世纪法国歌剧概述 6-7 第2节 19 世纪法国抒情歌剧及作曲家 7-10 1、19 世纪法国抒情歌剧剧目概述 7-8 2、19 世纪法国歌剧作曲家比才与圣桑 8-10 第二章 19 世纪法国抒情歌剧女中音 10-13 第1节 19 世纪女中音的发展及划分 10-11 1、19 世纪女中音发展概述 10 2、19 世纪女中音分类及特点概述 10-11 第2节 19 世纪意大利与法国歌剧中女中音之对比 11-13 1、19 世纪意法女中音歌剧咏叹调对比 11-12 2、19 世纪意法歌剧中女中音形象对比 12-13 第三章 咏叹调哈巴涅拉与我心花怒放的音乐解析 13-26 第1节 诱人的哈巴涅拉 13-17 1、咏叹调背景 13 2、歌词及语言解析 13-14 3、著作略论 14-17 第2节 缠绵的我心花怒放 17-26 1、咏叹调背景 17-18 2、歌词及语言解析 18 3、著作略论 18-26 第四章 哈巴涅拉、我心花怒放在女中音训练中的应用 26-31 第1节 基础训练 26-30 1、气息——“收放自如” 26-27 2、咬字——“准确生动” 27-29 3、情感——“声情并茂” 29-30 第2节 舞台表演 30-31 1、肢体的表达 30 2、面部的表达 30-31 结语 31-32 参考文献 32-34 在校期间发表的学术论文 34-35 致谢 35 |
