| （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。） 舒曼、李斯特、安东·鲁宾斯坦是东方音乐汗青中的主要人物。他们依据德国巨大诗人海涅的诗歌《你似乎一朵鲜花》(《Du bist Wie eine Blumer》)创作的同词艺术歌曲是在160首依据海涅的这首诗歌创作的同词艺术歌曲中传播最普遍的。它们固然同词，但是却用分歧的音乐从分歧的角度对这首浪漫小诗停止了具有各自体验特色的情绪表达：培养了3朵“同词分歧味”的“花朵”：舒曼以简练的音乐营建了一朵“圣洁的鲜花”；李斯特以委宛深切的旋律描写了一朵“蜜意的鲜花”；鲁宾斯坦以严瑾而不乏热忱的音乐塑造了一朵“温馨的花朵。”本文对这三首同词分歧味的艺术歌曲的演唱从歌曲情绪的表示与音色的应用、气味的处置、说话的处置及与钢琴伴奏的照应等方面停止剖析后以为，在情绪表示方面，舒曼的歌曲重要应掌握住圣洁、忠诚的基调；李斯特的以凸起深切的赞扬之情为主；鲁宾斯坦的重要是表示纯粹而不乏热忱的情绪。三首歌曲从演唱音色的应用来讲，舒曼的著作应以暖和柔和、集中并且头声较多的声响演唱，以表现出忠诚与圣洁的意境；李斯特的歌曲应以悠扬抒怀、略显昏暗的音色演唱；鲁宾斯坦的歌曲应以柔柔纯洁、优美的音色演唱，德语专业论文，以表示出其温馨而热忱的情绪内在。在气味运用方面，舒曼的歌曲应以陡峭活动的气味运用为主；李斯特的歌曲应以较深的呼吸取得足够的气味支撑；鲁宾斯坦的歌曲轻缓柔和，应以舒缓的呼吸使歌曲富于活动性。三首歌曲的钢琴伴奏在歌曲中都与人声旋律一样占领一致主要的位置，在演唱进程中应坚持一种纵向的音乐感在乎境上与钢琴充足融会；三首艺术歌曲的歌词都是海涅的德语原诗，在演唱时除应依据德语的发音法停止发声外，德语论文范文，还应依据每首歌曲中诗词与旋律的联合特色停止说话处置。 Abstract: Schuhmann, Lester, Anton Rubinstein is the main character in the history of Oriental music. According to their big German poet Heinrich Heine's poetry "you seem to a single flowers" ("Du BIST wie Eine Blumer, creation of the same word art songs in the first 160 basis Heine of the poem creation with the word art songs spread most widely. Although they the same word, but the musical differences from different angles on this first romantic poem stopped with individual experience characteristics of emotional expression: to cultivate the flower "the same word in different taste" "flowers": Schumann to concise music construction of a single "holy flowers; Liszt to euphemistic deep cut melody describing the flower honey flowers"; Rubinstein to Yan Jin and there is no lack of passion for music created a single "sweet flowers." In this paper, the singing of the three pieces of the same word different taste of art songs from the disposal of the use of songs emotional expression and tone, the smell, speak of disposal and with piano accompaniment of reference analysis thought, Schumann songs important should grasp the tone of the holy and faithful; Liszt to heave deep praise; Rubinstein's important is to show the emotion pure and there is no lack of enthusiasm in the mood is indicated. Three songs in terms of the use of singing tone, Schumann's works should in warm, soft, and head voice more sound singing, to express the artistic conception of loyalty and holy; Liszt songs should be to the melodious sound singing lyric, slightly dim; Rubinstein's songs should be to soft pure, beautiful singing tone, to show its warm and warmly inner emotional. In the application of odor, Schumann songs should be at a steep odor and application of activity based; Liszt songs should be obtaining enough odor support with a deep breath; Rubinstein's songs soft and gentle, with soothing breath make songs full of activity. Three songs with piano accompaniment in the song are and vocal melody as occupied mostly consistent position, in singing in the process should adhere to a longitudinal music sense of care environment and Piano enough fusion; three art songs lyrics are Heine's original German poetry, singing in addition should be based on the German pronunciation of stops sounding, should also according to each song lyrics and melody of the United Feature stop talking disposal. 目录: 摘要 3 序言 5-8 第一章 海涅的诗歌《你好像一朵鲜花》 8-10 第一节 创作背景简述 8-9 第二节 诗歌简析 9-10 第二章 三首同词艺术歌曲的艺术特点 10-17 第一节 舒曼的《你好像一朵鲜花》 10-12 第二节 李斯特的《你好像一朵鲜花》 12-14 第三节 安东·鲁宾斯坦的 《你好像一朵鲜花》 14-17 第三章 三首同词艺术歌曲的演唱略论 17-23 第一节 歌曲情感的体现与音色的处理 17-18 第二节 语言的处理 18-19 第三节 气息的处理 19-20 第四节 与钢琴伴奏的呼应 20-23 结论 23-25 参考文献 25-28 附录 28-34 一、舒曼的艺术歌曲《你好像一朵鲜花》 28-29 二、李斯特的艺术歌曲《你好像一朵鲜花》 29-31 三、安东·鲁宾斯坦的艺术歌曲《你好像一朵鲜花》 31-34 后记 34 |
