贝利尼歌剧女高音咏叹调研究
摘要
贝利尼是19世纪早期,意大利歌剧的主要代表人物之一。他固守意大利歌剧纯粹抒情的歌剧观念,认为歌剧根本上应为高度发展的歌唱艺术的最高表现。从而更加巩固了咏叹调在其歌剧中的地位。
长期以来,人们对贝利尼歌剧中的戏剧表现缺少足够的认识,认为他的歌剧咏叹调只是优美的歌唱而已。实际上贝利尼与其他意大利优秀作曲家一样,只是在用自己独特的音乐语言来表现戏剧,实现他音乐戏剧的观念。
本文以贝利尼女高音咏叹调为研究对象,分别从人物性格、结构、旋律、调性和声、乐队等方面深入的分析研究,来挖掘贝利尼女高音咏叹调的戏剧表现因素,并在这些研究的基础上,对贝利尼歌剧中的女高音咏叹调的演唱提出自己的看法。
全文由绪论、正文、结论、附录四部分组成。正文分为七个部分,第一部分是对贝利尼的生平及创作的概述;第二部分到第六部分,分别对贝利尼歌剧女高音咏叹调的题材和人物性格、结构、旋律、和声、管弦乐队等方面作分析研究,重点挖掘其戏剧表现内涵;第七部分是在前几节的分析研究的基础上,对贝利尼歌剧中女高音咏叹调的演唱提出自己的看法。附录分为两部分,附录一是对贝利尼所有歌剧作品剧情的介绍。附录二是本文分析研究的过程中用到的女高音咏叹调。
Bellini is one of the important representatives of Italian opera in the early nineteenth century. He adhered to purely lyric philosophy of Italian opera, and thought that opera should primarily be the most advanced expression of highly developed singing art. Which enhanced the status of aria in opera much more.
Over a long period of time, people paid less attention to the dramatic expression of Bellini's opera, thought that his aria was just a kind of elegant singing. The fact, however, is that Bellini, excellent as other composers, only wanted to use his unique musical languages to express the drama, than to realize his philosophy of musical drama.
Taking the soprano arias in Bellini's opera as an example, the article analyzes profoundly from such elements as the character, structure, melody, mode, harmony, orchestra, etc. By doing this, the author hope to explore the dramatic expression elements of soprano arias, at the same time present her own views based on these studies.
The article includes four parts, which are introduction, context, conclusion and appendix. The context consists of seven parts, the first part illustrates Bellini's life and composing; From the second part to the sixth one, the article studies separately the subject, personal character, structure, melody, harmony as well as the orchestra, which emphasizes the dramatic inner expression; Based on the former analysis the seventh part presents the author's views about the singing of Bellini's soprano aria. The appendix is divided into two parts, the first one is an introduction to the scenario of all the operas, the second one includes all the soprano arias that are used in this study.
长期以来,人们对贝利尼歌剧中的戏剧表现缺少足够的认识,认为他的歌剧咏叹调只是优美的歌唱而已。实际上贝利尼与其他意大利优秀作曲家一样,只是在用自己独特的音乐语言来表现戏剧,实现他音乐戏剧的观念。
本文以贝利尼女高音咏叹调为研究对象,分别从人物性格、结构、旋律、调性和声、乐队等方面深入的分析研究,来挖掘贝利尼女高音咏叹调的戏剧表现因素,并在这些研究的基础上,对贝利尼歌剧中的女高音咏叹调的演唱提出自己的看法。
全文由绪论、正文、结论、附录四部分组成。正文分为七个部分,第一部分是对贝利尼的生平及创作的概述;第二部分到第六部分,分别对贝利尼歌剧女高音咏叹调的题材和人物性格、结构、旋律、和声、管弦乐队等方面作分析研究,重点挖掘其戏剧表现内涵;第七部分是在前几节的分析研究的基础上,对贝利尼歌剧中女高音咏叹调的演唱提出自己的看法。附录分为两部分,附录一是对贝利尼所有歌剧作品剧情的介绍。附录二是本文分析研究的过程中用到的女高音咏叹调。
Bellini is one of the important representatives of Italian opera in the early nineteenth century. He adhered to purely lyric philosophy of Italian opera, and thought that opera should primarily be the most advanced expression of highly developed singing art. Which enhanced the status of aria in opera much more.
Over a long period of time, people paid less attention to the dramatic expression of Bellini's opera, thought that his aria was just a kind of elegant singing. The fact, however, is that Bellini, excellent as other composers, only wanted to use his unique musical languages to express the drama, than to realize his philosophy of musical drama.
Taking the soprano arias in Bellini's opera as an example, the article analyzes profoundly from such elements as the character, structure, melody, mode, harmony, orchestra, etc. By doing this, the author hope to explore the dramatic expression elements of soprano arias, at the same time present her own views based on these studies.
The article includes four parts, which are introduction, context, conclusion and appendix. The context consists of seven parts, the first part illustrates Bellini's life and composing; From the second part to the sixth one, the article studies separately the subject, personal character, structure, melody, harmony as well as the orchestra, which emphasizes the dramatic inner expression; Based on the former analysis the seventh part presents the author's views about the singing of Bellini's soprano aria. The appendix is divided into two parts, the first one is an introduction to the scenario of all the operas, the second one includes all the soprano arias that are used in this study.
引文
【德】约翰·钦瑟罗;《歌剧宗师瓦格纳传》,梁识梅 译,中国文联出版公司出版,1987
David Kimbell;Italian Opera,Cambridge University Press,1991
Charles osborne;The Bel Canto Operas,Amadeus Press,Reprinted 1996
吴祖强主编;《歌剧经典12贝利尼诺玛》,世界文物出版社,1999
李维渤编著,《西洋声乐发展概略史》世界图书出版公司,1999
韩斌编著;《20世纪歌唱大师》,上海音乐出版社,2003
Friedrich Lippmann(text),Simon Maguire(work-list,bibliography);Bellini,Vincenzo,Http;//www.grovemusic.com/2006
Friedrich Lippmann;The New Grove----Masters of Italian Opera-bellini,Norton company,1983
Denis Arnold,andPercy Alfred Scholes;《The New Oxford Companion to Music》 Oxford University Press,1983
Theodore Baker,and Nicolas Slonimsky;《Baker's Biographical dictionary of Musicians》 Volume 1,New York,1991.
朱德九、蒋晓苏;《外国歌剧荟萃》,明天出版社,1991
【苏】尤里·凯尔第什编;《西方名音乐家传》,《西方名音乐家传》翻译组译,人民音乐出版社,1992
张弦、徐国弼、中文凯、安绍石等译;《西洋歌剧名作解说》,人民音乐出版社,1992
John Rosselli;The life of bellini,Cambridge University Press,1996
唐纳德·杰·格劳特、克劳德·帕里斯卡著;《西方音乐史》,汪启璋、吴佩华、顾连理 译,人民音乐出版社,1996
[英]杰拉尔德·亚伯拉罕;《简明牛津音乐史》,顾犇译,上海音乐出版社,1999
沈旋 谷文娴 陶辛;《西方音乐史简编》上海音乐出版社,1999
吴祖强主编;《歌剧经典11贝利尼 梦游女》,世界文物出版社,1999
吴祖强主编《歌剧经典13贝利尼 清教徒》世界文物出版社,1999
林逸聪;《音乐圣经》,华夏出版社,2000
冯立斌;《眷顾崇尚旋律的大师》,《西安音乐学院学报》,2000年3月
邵义强编译;《200世界名歌剧》①,天同出版社,1988年
Mary Ann Smart(text),Friedrich Lippmann,Simon Maguire/ Mary Ann Smart(works),Friedrich Lippmann / Mary Ann Smart(bibliography);Bellini,Vincenzo--The New Grove Dictionary of Music and Musicians(2001)
程淑安译;《卡拉斯在美国朱利亚音乐学院讲学集》,江苏文艺出版社,2001
钱苑 林华;《歌剧概论》,上海音乐出版社,2003
欧南 李莉;《歌剧经典》,浙江人民出版社,2003
尚家骧;《欧洲声乐发展史》,华乐出版社,2003
居其宏;《歌剧美学论纲》,安徽文艺出版社,2003
李华;“精纯与灿烂的结晶-贝利尼音乐语言中的《诺尔玛》”,《青海师范大学学报》,2003第3期
廖叔同著;《西方音乐一千年》,三联书店,2004
钟晖;“歌剧《梦游女》选段《啊,满圆鲜花凋零》分析与演唱”,《星海音乐学院学报》,2004年12月
拉里/于娟 编译;“《诺尔玛》的持久魅力”,《爱乐》,2006年第4期
(美)哈罗尔德·C·勋伯格;《伟大作曲家的生活》,冷杉、候坤、王迎等译,三联书店出版,2007
Encarta;"Vincenzo Bellini",http;//encarta.msn.com,2007
David Kimbell;Italian Opera,Cambridge University Press,1991
Charles osborne;The Bel Canto Operas,Amadeus Press,Reprinted 1996
吴祖强主编;《歌剧经典12贝利尼诺玛》,世界文物出版社,1999
李维渤编著,《西洋声乐发展概略史》世界图书出版公司,1999
韩斌编著;《20世纪歌唱大师》,上海音乐出版社,2003
Friedrich Lippmann(text),Simon Maguire(work-list,bibliography);Bellini,Vincenzo,Http;//www.grovemusic.com/2006
Friedrich Lippmann;The New Grove----Masters of Italian Opera-bellini,Norton company,1983
Denis Arnold,andPercy Alfred Scholes;《The New Oxford Companion to Music》 Oxford University Press,1983
Theodore Baker,and Nicolas Slonimsky;《Baker's Biographical dictionary of Musicians》 Volume 1,New York,1991.
朱德九、蒋晓苏;《外国歌剧荟萃》,明天出版社,1991
【苏】尤里·凯尔第什编;《西方名音乐家传》,《西方名音乐家传》翻译组译,人民音乐出版社,1992
张弦、徐国弼、中文凯、安绍石等译;《西洋歌剧名作解说》,人民音乐出版社,1992
John Rosselli;The life of bellini,Cambridge University Press,1996
唐纳德·杰·格劳特、克劳德·帕里斯卡著;《西方音乐史》,汪启璋、吴佩华、顾连理 译,人民音乐出版社,1996
[英]杰拉尔德·亚伯拉罕;《简明牛津音乐史》,顾犇译,上海音乐出版社,1999
沈旋 谷文娴 陶辛;《西方音乐史简编》上海音乐出版社,1999
吴祖强主编;《歌剧经典11贝利尼 梦游女》,世界文物出版社,1999
吴祖强主编《歌剧经典13贝利尼 清教徒》世界文物出版社,1999
林逸聪;《音乐圣经》,华夏出版社,2000
冯立斌;《眷顾崇尚旋律的大师》,《西安音乐学院学报》,2000年3月
邵义强编译;《200世界名歌剧》①,天同出版社,1988年
Mary Ann Smart(text),Friedrich Lippmann,Simon Maguire/ Mary Ann Smart(works),Friedrich Lippmann / Mary Ann Smart(bibliography);Bellini,Vincenzo--The New Grove Dictionary of Music and Musicians(2001)
程淑安译;《卡拉斯在美国朱利亚音乐学院讲学集》,江苏文艺出版社,2001
钱苑 林华;《歌剧概论》,上海音乐出版社,2003
欧南 李莉;《歌剧经典》,浙江人民出版社,2003
尚家骧;《欧洲声乐发展史》,华乐出版社,2003
居其宏;《歌剧美学论纲》,安徽文艺出版社,2003
李华;“精纯与灿烂的结晶-贝利尼音乐语言中的《诺尔玛》”,《青海师范大学学报》,2003第3期
廖叔同著;《西方音乐一千年》,三联书店,2004
钟晖;“歌剧《梦游女》选段《啊,满圆鲜花凋零》分析与演唱”,《星海音乐学院学报》,2004年12月
拉里/于娟 编译;“《诺尔玛》的持久魅力”,《爱乐》,2006年第4期
(美)哈罗尔德·C·勋伯格;《伟大作曲家的生活》,冷杉、候坤、王迎等译,三联书店出版,2007
Encarta;"Vincenzo Bellini",http;//encarta.msn.com,2007
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