合唱作品《海韵》与《长恨歌》之比较研究与历史价值
发布时间：2018-11-15 20:40
【摘要】： 合唱艺术,这颗音乐文化史上璀璨的明珠,她历史悠久,渊远流长。在欧洲,可追溯到距今已近千年的中世纪宗教音乐。合唱音乐在我国的兴起,虽然和欧洲相比,起步较晚,至今还只有一百年左右的历史。但是,许多作曲家对合唱曲创作的大胆探索,使合唱艺术取得了迅速的发展。《海韵》和《长恨歌》就是两部经典的合唱作品。 《海韵》是赵元任谱写的上百首歌曲中唯一的大型合唱作品。它描写了一位向往自由的少女,不满足于家中的平庸生活,在海滩上徘徊歌舞,最终被波涛吞没的情景。暗示出“五·四”时期要求个性自由、解放的妇女,最终因不能摆脱封建礼教的束缚而归于失败。 《长恨歌》是黄自根据韦瀚章词谱写的我国历史上第一部清唱剧。清唱剧《长恨歌》的歌词就是词作家韦瀚章根据白居易的同名诗和洪f的传奇《长生殿》写出的。全剧共分10部分,每部分的标题都来自于白居易原作的诗句:(一)仙乐风飘处处闻、(二)七月七日长生殿、(三)渔阳鼙鼓动地来、(四)惊破霓裳羽衣舞、(五)六军不发无奈何、(六)宛转蛾眉马前死、(七)雨夜闻铃肠断声、(八)山在虚无缥缈间、(九)西宫南内多秋草、(十)此恨绵绵无绝期。黄自于1932年夏季开始创作这部清唱剧,在一年的时间里,他从中选谱了七个乐章,第四、第七和第九乐章未谱曲。但从他所完成的七个乐章的构思和主题思想的表达上,已基本完成了该作品所要表现的全部内容。 赵元任的《海韵》和黄自的《长恨歌》是我国19世纪20、30年代著名的合唱曲,它们都具有相当高的艺术和研究价值。 一、从题材上来说:两部作品都是以悲剧性的结局而告终,表现出的是封建制度下妇女的悲剧。只是前者追求的是自由;后者追求的是爱情。 二、从人物形象上看:《海韵》中的每一段都由合唱代表的诗翁和旁观者、女高音代表的少女、钢琴代表的大海四个部分交替出现。《长恨歌》中,围绕历史事件的发展,成功塑造了四种人物形象:唐明皇、杨贵妃、宫女、军队(包括安禄山的叛军和唐明皇的六军)。 三、从合唱形式上看:《海韵》中运用了四部混声合唱、男声四部合唱、女声合唱以及领唱加合唱等形式。《长恨歌》中运用了混声四部合唱、男声四部合唱、女声三部合唱、女高音独唱、男中音独唱等形式。 本文通过对《海韵》和《长恨歌》的分析、比较研究来总结和归纳他们的音乐意图和音乐语言的异同以及历史价值。这两部作品,当时就受到音乐界及广大音乐爱好者的高度评价,就是在今天,也是我国近现代音乐创作中的艺术珍品,并且对之后合唱艺术的发展也起了推动的作用。
[Abstract]:Chorus art, this bright pearl in the history of music culture, she has a long history and a long history. In Europe, it dates back to medieval religious music nearly a thousand years ago. The rise of choral music in China, although compared with Europe, started relatively late, and has only a hundred years of history. However, the bold exploration of choral composition by many composers has made the chorus art develop rapidly. Haiyun and Eternal hate songs are two classic choral works. Haiyun is the only large chorus of hundreds of songs written by Zhao Yuanren. It depicts a young girl who yearns for freedom, who is not satisfied with the mediocre life of her family, hovers and dances on the beach and is eventually swallowed up by the waves. It suggests that the women who demanded freedom of personality during the May 4th period failed because they could not get rid of the bondage of feudal ethics. Everlasting hate Song is the first oratorio written by Huang Zi according to Wei Hanzhang's ci spectrum. The lyrics of oratorio everlasting hate were written by ci writer Wei Hanzhang on the basis of Bai Juyi's poem of the same name and the legend of Hong Fong. The whole play is divided into 10 parts. The titles of each part are drawn from the verse of Bai Juyi's original work: (1) the breeze passes through the place and the fairy music can be heard in all directions; (2) on the night of July 7 of that year, we met each other in the Hall of long Life, (3) suddenly the Yuyang War Drum sounded the earth-shaking palace, and (4) the dance of neon clothes and down clothes. (5) the six armies of Longwu Army and Yu Lin Army had no choice but to leave, (6) the lovelorn beauty finally lost her life before the horse, (7) the bell broke in the rainy night, (8) the mountains were in the void, (9) the Xingqing Palace and the Manlu Palace were depressed and the autumn grass was long, (10) only this death and death was never finished. Huang began writing the oratorio in the summer of 1932. In one year, he selected seven pieces of music, fourth, seventh and ninth. But from the conception of seven movements and the expression of the theme, he has basically completed the whole content of the work. Zhao Yuanren's "Hai Yun" and Huang Zi's "Song of Eternal resentment" are famous chorus songs in 1920s and 1930s in China. They are of high artistic and research value. First, from the subject matter: the two works ended in a tragic end, showing the tragedy of women under the feudal system. Only the former pursue freedom; the latter pursue love. Second, in terms of character image, each section of "Haiyun" is alternately composed of four parts, namely, the poet and the bystander represented by the chorus, the girl represented by the soprano, and the sea represented by the piano. In the Song of Eternal resentment, the development of historical events revolves around the development of historical events. Four successful characters were created: Tang Ming Huang, Yang Guifei, Gong Nu, the army (including the rebels in an Lushan and the six armies of Tang Ming Huang). (3) in the form of chorus: in Haiyun, there are four mixed chorus, four male choral, four female choral and leading chorus, etc. In the Song of Eternal resentment, there are four mixed chorus, four male chorus and three female chorus. Soprano solos, baritone solos, etc. Through the analysis of "Haiyun" and "Song of Eternal resentment", this paper makes a comparative study to summarize and summarize their musical intention, similarities and differences in musical language and historical value. These two works were highly appraised by the music circles and music lovers at that time. They are also the art treasures in the modern music creation of our country, and played an important role in promoting the development of chorus art.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J616
[Abstract]:Chorus art, this bright pearl in the history of music culture, she has a long history and a long history. In Europe, it dates back to medieval religious music nearly a thousand years ago. The rise of choral music in China, although compared with Europe, started relatively late, and has only a hundred years of history. However, the bold exploration of choral composition by many composers has made the chorus art develop rapidly. Haiyun and Eternal hate songs are two classic choral works. Haiyun is the only large chorus of hundreds of songs written by Zhao Yuanren. It depicts a young girl who yearns for freedom, who is not satisfied with the mediocre life of her family, hovers and dances on the beach and is eventually swallowed up by the waves. It suggests that the women who demanded freedom of personality during the May 4th period failed because they could not get rid of the bondage of feudal ethics. Everlasting hate Song is the first oratorio written by Huang Zi according to Wei Hanzhang's ci spectrum. The lyrics of oratorio everlasting hate were written by ci writer Wei Hanzhang on the basis of Bai Juyi's poem of the same name and the legend of Hong Fong. The whole play is divided into 10 parts. The titles of each part are drawn from the verse of Bai Juyi's original work: (1) the breeze passes through the place and the fairy music can be heard in all directions; (2) on the night of July 7 of that year, we met each other in the Hall of long Life, (3) suddenly the Yuyang War Drum sounded the earth-shaking palace, and (4) the dance of neon clothes and down clothes. (5) the six armies of Longwu Army and Yu Lin Army had no choice but to leave, (6) the lovelorn beauty finally lost her life before the horse, (7) the bell broke in the rainy night, (8) the mountains were in the void, (9) the Xingqing Palace and the Manlu Palace were depressed and the autumn grass was long, (10) only this death and death was never finished. Huang began writing the oratorio in the summer of 1932. In one year, he selected seven pieces of music, fourth, seventh and ninth. But from the conception of seven movements and the expression of the theme, he has basically completed the whole content of the work. Zhao Yuanren's "Hai Yun" and Huang Zi's "Song of Eternal resentment" are famous chorus songs in 1920s and 1930s in China. They are of high artistic and research value. First, from the subject matter: the two works ended in a tragic end, showing the tragedy of women under the feudal system. Only the former pursue freedom; the latter pursue love. Second, in terms of character image, each section of "Haiyun" is alternately composed of four parts, namely, the poet and the bystander represented by the chorus, the girl represented by the soprano, and the sea represented by the piano. In the Song of Eternal resentment, the development of historical events revolves around the development of historical events. Four successful characters were created: Tang Ming Huang, Yang Guifei, Gong Nu, the army (including the rebels in an Lushan and the six armies of Tang Ming Huang). (3) in the form of chorus: in Haiyun, there are four mixed chorus, four male choral, four female choral and leading chorus, etc. In the Song of Eternal resentment, there are four mixed chorus, four male chorus and three female chorus. Soprano solos, baritone solos, etc. Through the analysis of "Haiyun" and "Song of Eternal resentment", this paper makes a comparative study to summarize and summarize their musical intention, similarities and differences in musical language and historical value. These two works were highly appraised by the music circles and music lovers at that time. They are also the art treasures in the modern music creation of our country, and played an important role in promoting the development of chorus art.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J616
【参考文献】
相关期刊论文 前7条
1 许康健;;论黄自合唱作品的作曲技法特征[J];音乐研究;2006年02期
2 冯芸;中国第一部清唱剧及其作者——为《长恨歌》问世70周年而作[J];苏州大学学报(工科版);2002年06期
3 廖文兰;如何理解和指挥赵元任的合唱作品《海韵》[J];星海音乐学院学报;2001年04期
4 徐玲;;试解清唱剧《长恨歌》[J];艺术广角;2007年03期
5 岳晓云;;流淌在手心的圣咏——赵元任合唱作品《海韵》指挥艺术的设计与构想[J];艺术教育;2007年07期
6 秦德祥;赵元任与吟诵音乐[J];中国音乐;1998年03期
7 张e，
本文编号：2334398
本文链接：https://www.wllwen.com/wenyilunwen/mzqiyue/2334398.html
