花腔女中音演唱特点的探究

发布时间：2018-02-17 04:23

本文关键词： 花腔女中音演唱特点实践训练　出处：《陕西师范大学》2011年硕士论文　论文类型：学位论文

【摘要】：花腔作为重要的声乐演唱技能,代表着一定的美学思想和原则,代表着声乐技能发展的一个方向,而花腔与女中声部相结合,不仅丰富了中声部的声乐技能,更体现声乐演唱风格全面性、全能性的发展特点。要在女中音基础上获得灵活、优美、漂亮的花腔,演绎出具有声部特色的花腔女中音确实是一件不容易的事,它不仅需要正确的声音概念,科学的训练方式,还需要对花腔特点有比较全面的了解,所以对花腔女中音演唱特点的探究可以促进声乐演唱技能的发展,同时也可以对声乐教学的发展有积极的引导作用。本文可分为五个部分,大致内容如下：第一章,绪论：这一部分主要简单介绍了选题缘由与背景,国内外研究现状、研究方法和思路等方面的内容。第二章,花腔女中音的概述,本章简要论述了花腔女中音的定义和发展特点,花腔女中音的声部特点和艺术价值,以便从概念上对花腔女中音有一个初步的了解。第三章,花腔女中音演唱特点的分析。这一章主要从从演唱技能、声音表现、角色塑造等三个方面来对花腔女中音的特点进行说明,为下一章的实践训练打下基础。第四章,花腔女中音演唱特点的实践训练,这一章是从实践的角度论述了花腔女中音演唱特点。首先,以著名女中音歌唱家贝尔冈扎为例,通过对其演唱经历和声音特点的分析来探究花腔女中音在实践中应如何训练。其次,树立正确的声音概念是进行训练的前提条件也是首要关注的问题,所以就从从多个维度、多个层面去对声部进行科学、客观的界定。再次,花腔女中音演唱特点的训练,主要从音区、花腔等方面进行论述,又结合罗西尼的三部歌剧中的三首作品《美妙的歌声随风飘荡》、《不再独坐炉边悲伤》、《美丽可爱的光》为例进行说明花腔女中音演唱特点及如何在作品中进行体现。最后,简要说明花腔女中音训练时应该注意的问题,如要克服气息沉,流动性弱的问题,加强高音的技术能力,树立正确的学习态度等。第五章,花腔女中音对声乐艺术及声乐教学的贡献,主要表现在四个方面：消解固定的声音观念、打破声种与唱法的界限、促进声乐艺术多元化的发展、促进声乐教学的发展。
[Abstract]:As an important vocal singing skill, flower cavity represents certain aesthetic thought and principle, and represents a direction of vocal music skill development. The combination of flower cavity and female middle vocal part not only enriches the vocal music skill of middle vocal part, It is really not easy to get a flexible, beautiful, beautiful flower cavity on the basis of soprano, and to deduce a flower cavity with the characteristics of the vocal part. It not only needs correct sound concepts, scientific training methods, but also needs to have a more comprehensive understanding of the characteristics of the flower cavity, so the exploration of the characteristics of the soprano soprano can promote the development of vocal singing skills. At the same time, it can also play a positive role in the development of vocal music teaching. This paper can be divided into five parts, roughly as follows:. Chapter one, introduction: this part mainly introduces the reason and background of the selected topic, the current research situation at home and abroad, the research methods and ideas and so on. The second chapter, the outline of the soprano soprano, this chapter briefly discusses the definition and development characteristics of the soprano soprano, the characteristics of the part and the artistic value of the soprano soprano, so as to have a preliminary understanding of the soprano soprano from the concept. The third chapter, the analysis of the singing characteristics of the soprano soprano, this chapter mainly from three aspects of singing skills, voice performance, role shaping to explain the characteristics of the soprano soprano, lay a foundation for the next chapter of practical training. Chapter 4th, practical training on the characteristics of Hua-cai soprano, this chapter discusses the characteristics of Hua-cai soprano from a practical point of view. First of all, take the famous soprano singer Bergonza as an example. Through the analysis of its singing experience and sound characteristics, this paper explores how to train the soprano soprano in practice. Secondly, setting up the correct sound concept is also the prerequisite for training, so from the perspective of multiple dimensions, More than one level to carry on the scientific, objective definition to the sound part. Thirdly, the training of the singing characteristics of the soprano soprano is mainly discussed from the aspects of the sound area, the flower cavity, and so on. Combined with the three works of Rossini's three operas, "A wonderful song fluttering in the wind", "No longer sitting alone in the hearth of sadness", "Beautiful and lovely Light" as an example to illustrate the singing characteristics of the soprano soprano and how to embody it in the works. This paper briefly describes the problems that should be paid attention to in the training of soprano soprano, such as overcoming the problems of heavy breath, weak fluidity, strengthening the technical ability of soprano, and setting up a correct learning attitude. In Chapter 5th, the contribution of the soprano soprano to the art of vocal music and the teaching of vocal music is mainly manifested in four aspects: dissolving the fixed sound concept, breaking the boundary between the vocal species and the singing method, and promoting the development of the diversity of vocal music art. Promote the development of vocal music teaching.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J616.2

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