歌剧《苍原》中娜仁高娃的音乐形象和艺术表现分析

发布时间：2018-05-15 17:20

本文选题：《苍原》 + 娜仁高娃　；参考：《曲阜师范大学》2014年硕士论文

【摘要】：歌剧《苍原》自1995年首演至今已近百场，这部由辽宁歌剧院创作、演出的歌曲是自新中国成立以来最具代表性的经典歌剧之一。这部作品取材于土尔扈特人不远万里，举族东迁的故事，为了回归祖国历尽艰难险阻的爱国主义主题。歌剧《苍原》以土尔扈特人为了回家克服种种危机为戏剧线索，将一个民族的一种期望，一丝眷恋表现的淋漓尽致。它以较小的篇幅呈现了重大的历史事件，，不仅在在200多年前具有深刻影响，新中国成立之后改革开放的今天也体现了重要的现实意义。全剧是以蒙古族的音乐风格贯穿始终，悠扬、浓烈的民族音乐旋律出现在歌剧的每个角落，在音乐设计和创作方法既体现了各种艺术形式的统一，又展示了历史与现实、内容与形式的完美结合。歌剧中的音乐离不开人声的配合，音乐形式方面，《苍原》中几个主要人物的咏叹调都异常精彩，本文主要通过对女主人公“娜仁高娃”音乐形象和艺术表现的分析，在前辈们对有关歌剧《苍原》细致研究的基础之上，进一步探索歌剧中女主人公的形象塑造和演唱技巧方面的艺术表现。第一章笔者将从创作背景、作者简介、音乐特征、创作特点和风格特点四个方面对作品进行整体概括；第二章通过分析娜仁高娃演唱的咏叹调歌曲，笔者具体阐述了女主公的音乐形象和她所具备的审美价值；第三章笔者通过分析幺红的演唱技巧来着重阐释娜仁高娃在故事中的艺术表现
[Abstract]:The opera Cang Yuan has been performed nearly 100 times since its opening in 1995. This song, composed by Liaoning Opera House, is one of the most representative classical operas since the founding of the people's Republic of China. This work is based on the story of the Tulghuit people moving eastward, a patriotic theme for the return of the motherland. The opera "Cangyuan" takes the Turhut people to overcome all kinds of crisis as the drama clue, a kind of expectation of a nation, a trace of sentimental expression incisively and vividly. It presents a significant historical event in a relatively small space, which not only had a profound impact more than 200 years ago, but also reflects the important practical significance today after the founding of New China. The whole play is a Mongolian musical style throughout, melodious, strong folk music melody appears in every corner of the opera, in music design and creative methods not only embodies the unity of various forms of art, but also shows the history and reality. The perfect combination of content and form. The music in opera can not be separated from the cooperation of human voice. In terms of music form, the arias of several main characters in "Cangyuan" are extraordinary. This article mainly analyzes the musical image and artistic expression of the heroine "Narengawa". On the basis of the detailed study of the opera Cang Yuan by the predecessors, this paper further explores the artistic expression of the heroine's image and singing skills in the opera. In the first chapter, the author generalizes the works from four aspects: the background of creation, the brief introduction of the author, the characteristics of music, the characteristics of creation and the characteristics of style. The second chapter analyzes the arias performed by Narengawa. The author elaborates the female lord's musical image and her aesthetic value in detail. The third chapter mainly explains the artistic expression of Narengaova in the story by analyzing her singing skills.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J822;J617.2

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