論小劇場歌劇再別康橋中女高音林徽因的藝術(shù)形象及唱段演繹

1、西安音樂學院碩士學位論文論小劇場歌劇《再別康橋》中女高音林徽因的藝術(shù)形象及唱段演繹姓名：張璟申請學位級別：碩士專業(yè)：聲樂教學及演唱指導教師：程軍2011西安音樂學院碩士論文 Abstract IIAbstract Abstract Little Theatre Opera “Saying Good-bye t

2、o Cambridge Again“, made by play writer Chen We and composed by professor of Capital Normal University College of Music Zhou Xueshi, is the first and the only one public shown opera performance of the litt

3、le theater operas. The stage performance has made a bold attempt in succeeding the tradition and learning from successful experiences of foreign operas. It created a new form of Chinese opera, meanwhile, b

4、ut also become an important part of current music. In this paper, it has focused on studying the soprano Lin Huiyin in the opera, through an in-depth analysis of the relationship between the characters, the study has

5、 attempted to grasp the characters’ emotional experience, strive to profile a comprehensive, detailed exploration of this role, and summarizes the artistic image of Lin Huiyin and features. Starting from the soprano

6、Lin Huiyin’s artistic image, moving to aria-depth interpretation of the character, the study emphasizes on analysis of her relationship with other characters. The whole paper has been divided into four chapters; the f

7、irst chapter has detailed the analysis of historical and cultural background of “Saying Good-bye to Cambridge Again“ as well as its composing background, and then it has further introduced this art form combined with

8、the course of development of Chinese Opera. The second chapter has discussed Lin’s growing course of teenage and adulthood to analyze the characteristics of her personality, the opera and related aria to ana

9、lysis of her relationship with other people. To understand her inner emotional world, with image analysis in drama and music, it has further explored the artistic charm of the characters. The third chapter has analyze

10、d the aria of soprano paragraph by paragraph, and in-depth aria illustration has been made from singing skills, singing processing, music performance, and many other operas techniques to reveal the shape and per

11、formance of this role. In particular, Lin’s poems in the aria have been anatomized. The fourth chapter starting from the perspectives of aesthetics, the role of Lin in the opera and the ar

12、tistic features of Lin Huiyin have been fully revealed and discussed. Finally, it has been concluded that the creation of “Saying Good-bye to Cambridge Again“ owns the core inspiration for today's Chinese opera de