歌剧《原野》中“金子”的角色分析与演唱处理的研究-音乐学专业论文.docxVIP

独 创 声 明 本人声明所呈交的学位论文是本人在导师指导下进行的研究工作及取得的 研究成果。据我所知，除了文中特别加以标注和致谢的地方外，论文中不包含其 他人已经发表或撰写过的研究成果，也不包含为获得 （注：如 没有其他需要特别声明的，本栏可空）或其他教育机构的学位或证书使用过的材 料。与我一同工作的同志对本研究所做的任何贡献均已在论文中作了明确的说明 并表示谢意。 学位论文作者签名： 导师签字： 学 位 论 文 版 权 使 用 授 权 书 本学位论文作者完全了解 学校 有关保留、使用学位论文的规定，有权保 留并向国家有关部门或机构送交论文的复印件和磁盘，允许论文被查阅和借阅。 本人授权 学校 可以将学位论文的全部或部分内容编入有关数据库进行检索，可 以采用影印、缩印或扫描等复制手段保存、汇编学位论文。（必威体育官网网址的学位论文在 解密后适用本授权书） 学位论文作者签名： 导师签字： 签字日期：201 年 月 日 签字日期：201 年 月 日 目 录 中文摘要························································································································ I Abstract ·························································································································II 前 言 1 第一节 歌剧《原野》的历史评价和艺术价值·················································1 第二节 研究本课题的目的与意义·····································································2 第三节 国内外关于该课题的研究现状及趋势·················································3 第一章 歌剧《原野》之概述····················································································5 第一节 曹禺及其《原野》·················································································5 一、曹禺简介··································································································5 二、曹禺《原野》的历史定位······································································6 第二节 歌剧《原野》的脚本创作背景·····························································7 第三节 歌剧《原野》的音乐特征·····································································8 一、戏剧冲突得到有力揭示··········································································8 二、融多种音乐创作技法于一体··································································9 三、人声与管弦乐队交响乐相得益彰··························································9 第四节 歌剧《原野》对中国新时期歌剧发展的启示·····································9 第二章 歌剧《原野》中“金子”的角色分析······················································11 第一节 角色的来源···························································································11 第二节 艺术形象的分析···························