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咏叹调

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Ensemble GRENZENLOS is to bring us a number of music works which premiere in China, including Vortex Temporum by Gérard Grisey, one of the founders of French Spectral Music, Air from Opera by Luciano Berio, a well-known Italian composer, Tetras by Iannis Xenakis, a famous Greek composer of stochastic music, 'Grido' String Quartet by Helmut Lachenmann, a German composer of noise music.

多国组成的无疆界新音乐团为我们带来了许多中国首演的作品,比如法国频谱学派鼻祖格里塞的《旋涡》、意大利著名作曲家贝里奥的《咏叹调》、希腊著名随机作曲家泽纳基斯的《忒塔》和德国噪音作曲家拉亨曼的弦乐四重奏《哭泣》。

On the basis of musical and operatic elements of Liu aria, and by combining with the music scores, this thesis fully discusses the aesthetic value and artistic captivation of this famous figure from the aspects of "loftiness" and "tragedy".

本文立足于柳儿咏叹调的音乐因素和柳儿人物的戏剧因素,结合谱例,从"崇高"和"悲剧性"两个方面具体论析了柳儿人物形象的审美价值和艺术魅力。

Then take four arias with the coloratura mezzo-soprano melody as the examples to make a further analysis from the perspectives of the plot, the character and the singing skills.

第三章例举了四首不同类型的带有花腔旋律的女中音咏叹调作品,分别在剧情、人物形象塑造、演唱风格诠释、技巧等方面进行了分析研究。

Based on Mozart's opera genius, this paper used the methods of researching on "19 Mozart Piano Sonatas", as well as the three major Mozart opera scores:"The Marriage of Figaro","Don Juan" and "The Magic Flute" and DVDS. Through a comparative analysis between his opera and piano sonatas I can find a large number of elements of his opera, such as aria, recitativ, quartet, chorus, decorative colorature and strong conflicts of paragraphs from the summary Mozart's Piano Sonatas in a dramatic factor.

基于莫扎特的歌剧天才,本文立足于对《19首莫扎特钢琴奏鸣曲》的乐谱研究,以及对莫扎特三部重要歌剧:《费加罗的婚礼》、《唐璜》、《魔笛》的总谱及音响资料的剖析,对这种体裁进行比较分析,可以从他的钢琴奏鸣曲中找出大量具有歌剧咏叹调、宣叙调、重唱、合唱、花腔装饰以及强烈戏剧冲突性段落,从中总结出莫扎特钢琴奏鸣曲中所具有戏剧性的因素。

In turn, its change in form influences and constrain its development in content.

这一内容与形式的关系问题直接影响着咏叹调美学特征的研究。

The latter thought he had achieved prodigies of technique and ornamentation, only for Farinelli to surpass him so much that he "was at last silenced only by the acclamations of the audience"(to quote the music historian Charles Burney — this account cannot be verified one way or the other, since no surviving work which Farinelli is known to have performed at this time contains an aria for soprano with trumpet obbligato).

而后者认为他在吹奏技巧与装饰音上已达到天才的境界,只有Farinelli能远远压过他,最后吹奏者只能被听众的欢呼声嘘下来。(引用音乐史学家Charles Burney的话-这种说法其实无法以这种或其他方法证实。因为没有残存的作品可以证明Farinelli在此时的表演包含著以喇叭为高音的咏叹调伴奏。

The duty of the drame and the music which was give by the subject was accomplished by three elements used in this dissertation as following:the musical theme"La Roi S'amuse"(from the opera"Rigoletto")was the center clue;the forming precess of the three main characters (Rigoletto、Duke and Gilda)was the major may to interprete the drama subject; meanwhile, their own Arias were used to rebuild the musical figures; and the chorus between each of them was the main means to put forward the plot of the drama.

本论文以歌剧《黎戈莱托》的主题"诅咒"作为主轴线,以歌剧中三个主人公(黎戈莱托、曼图阿公爵、黎戈莱托的女儿吉尔达)在歌剧中各自音乐形象的塑造过程作为对歌剧主题诠译的主要手段,同时又以他们各自在歌剧中的咏叹调作为塑造音乐形象的主要方式,以他们相互之间的合唱作为歌剧情节向前发展的重要方式,从而完成歌剧主题所赋予的戏剧任务和音乐任务。

Through the research of Gounod' s opera and arias, the author hope that this paper could have practical significance to better understand Gounod, also sincerely hope that it could provide useful assistance to t...

本文通过对古诺歌剧及其咏叹调的研究,对于人们更好的理解和认识古诺有着现实的意义,也真诚希望它能为古诺作品的演唱者提供有益的帮助。

On base of expatiating the different singing features of art songs and opera's aria respectively, this text put forward that both two of them should form the style of"take in everything ,complement each other"related to"histrionic"and"artistry".

本文在分别梳理艺术歌曲和歌剧咏叹调不同的演唱特征的基础上,提出两者在"戏剧性"和"艺术性"上应当形成"兼收并蓄、相得益彰"的风格。

The opera's aria is with intense histrionic, while art songs give prominence to artistry, which causes the different features on their singing style.

由于歌剧咏叹调具有强烈的戏剧性,艺术歌曲则突出艺术性,从而形成了它们在演唱风格上的不同特色。

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