| 摘要:（摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，内容请直接查看目录。） 柴可夫斯基是俄罗斯音乐的一盏明灯，俄语论文，人们每当提起19世纪下半叶的俄国音乐，除“强力团体”的几位年夜师外，在他们的心目中占领最主要地位确当数彼得·伊里奇·柴可夫斯基。他的音乐早已跨越俄罗斯国界而享誉世界各地。他的交响曲、室内乐、协奏曲等诸多著作成了音乐舞台经典曲目，而其歌剧创作，以旋律美、抒怀美、喜剧美之审美魅力，不知震动了若干听众的心灵。《叶甫盖尼·奥涅金》、《黑桃皇后》等于普希金艺术魂魄的最好音乐戏剧表现。三幕七场歌剧《黑桃皇后》是最具典范意义的批评实际主义的代表性歌剧。它胜利塑造了19世纪晚期俄国贵族社会青年中“过剩的人”这一典范抽象，提醒了谁人时期俄国下流社会的生涯面貌和贵族精力的衰颓。《黑桃皇后》不只与《叶甫盖尼·奥涅金》同为里程碑式的歌剧佳作，并且是继格林卡以后俄罗斯歌剧音乐成长史上的主要的标记。歌剧情节按排、抽象塑造、戏剧抵触等方面在原著小说基本长进行了舞台化、艺术化创作。在谱写唱段和描绘人物心思方面真实细腻，深入发掘人物心坎深处最隐藏的角落，描写出庞杂的实际生涯情境。若何表示格尔曼这个无所事事、玩世不恭的人物呢？柴可夫斯基以其对普希金原作的深入懂得，经由过程歌剧构造、旋律、节拍、配器等多种手腕作出了奇特的归纳。本文试以《黑桃皇后》为典范，对柴可夫斯基的音乐作风和创作手段作一番较为深刻的研析和商量，并以几首重要唱段为实例加以阐述，俄语毕业论文，从中挖掘可自创的创作经历。 Abstract: Tchaikovsky is a beacon of Russian music, people when it comes to the second half of the nineteenth Century Russian music, in addition to several strong Nianye division group ", in their minds occupied the main position when the number of Peter Ilyich Tchaikovsky. His music has long been known across the Russian border and the world is well known all over the world. His symphonies, chamber music, concertos and other works became a music stage classical repertoire, and the opera, as a beautiful melody, lyric beauty and comedy beauty aesthetic charm, I shook some audience's mind. "Evgeny Onegin", "the queen of spades" is Pushkin the best music drama performance art. The three act seven opera "the queen of spades" is the most representative example of criticism of realism opera. It successfully built in late nineteenth Century Russian aristocracy youth "surplus people" the model abstraction, remind people who decline during the Russian underworld career outlook and noble spirit. "The queen of spades" and "Evgeny Onegin" not only with the milepost type opera masterpiece, and is following the Glinka Russian opera music history of the growth of the main mark. The opera plot is a stage and artistic creation in the original novels, such as the arrangement of the plot, the abstract, the drama and the drama. In the compose of arias and portray the psychological reality and explore the character heart hidden corners, describing a complex real life situation. How Fogleman said that have nothing to do, cynical character? Tchaikovsky on Pushkin's original understand, through the process of opera structure, melody, rhythm, orchestration and other wrist made strange induction. This paper tries to "the queen of spades" as an example of Tchaikovsky's music style and creation means a more profound analysis and discussion, and the first few important Arias for example to elaborate, mining can be created from the creative experience. 目录: 摘要 6-7 Abstract 7 绪论 9-12 第一章 普希金的笔下的《黑桃皇后》 12-20 第一节 19世纪早期俄国社会思潮和普希金的小说创作 12-15 第二节 从《叶普盖尼·奥涅金》到《黑桃皇后》 15-17 第三节 格尔曼其人其事 17-18 第四节 普希金的语言特征 18-20 第二章 柴可夫斯基歌剧的俄罗斯民族文化特征 20-25 第一节 柴可夫斯基歌剧的民族特性 20-22 第二节 《黑桃皇后》的抒情风格 22-25 第三章 歌剧中主要人物的音乐形象 25-34 第一节 《黑桃皇后》中的人物关系和结构布局 25-28 第二节 主要人物的音乐语言 28-30 第三节 声乐与乐队的织体音色处理 30-34 第四章 歌剧中主要唱段的略论演绎 34-49 第一节 格尔曼的主要唱段 34-38 第二节 丽莎的唱段 38-42 第三节 歌剧中的二重唱 42-49 结语 49-51 参考文献 51-53 致谢 53 |
