變異傳統(tǒng)歌劇元素,融入新探戈技法——論歌劇布宜諾斯艾利斯的瑪利亞的獨(dú)特性

1、上海師范大學(xué)碩士學(xué)位論文 中文摘要摘要本文以世界樂(lè)壇上的個(gè)案一一阿根廷作曲家阿斯托爾·皮亞佐拉所創(chuàng)作的歌劇《布宜諾斯艾利斯的瑪利亞》為研究對(duì)象，力圖通過(guò)對(duì)該歌劇中傳統(tǒng)歌劇元素的變異和融入新探戈手法的研究來(lái)表現(xiàn)出該歌劇獨(dú)特性的藝術(shù)性，從而引起各界對(duì)一部非主流國(guó)家歌劇的關(guān)注與重視。本文共分為兩部分：第一章主要就該歌劇與傳統(tǒng)歌劇元素的差異來(lái)進(jìn)行闡述。通過(guò)發(fā)現(xiàn)并分析其與傳統(tǒng)歌劇幾乎完全不同的戲劇設(shè)計(jì)、歌唱設(shè)置以及舞蹈與器樂(lè)比重等視角，

2、剖析這些特殊手段所體現(xiàn)的獨(dú)特功能與藝術(shù)效應(yīng)?！?。第二章主要闡述該歌劇中融入的新探戈手法及其在歌劇中產(chǎn)生的戲劇效應(yīng)。以節(jié)奏特點(diǎn)、主題陳述特點(diǎn)以及音響特點(diǎn)入手進(jìn)行具體分析，討論新探戈這種流行音樂(lè)元素融入古典歌劇體裁所造成的獨(dú)特藝術(shù)魅力。在最后的結(jié)語(yǔ)部分，本文主要探討了該歌劇的創(chuàng)作在探戈音樂(lè)領(lǐng)域及歌劇領(lǐng)域的獨(dú)特價(jià)值。關(guān)鍵詞 《布宜諾斯艾利斯的瑪利亞》傳統(tǒng)歌劇 差異 新探戈技法獨(dú)特性上海師范大學(xué)碩士學(xué)位論文 目錄目錄緒{ 侖·

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4、183;························1一、選題緣由···········

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6、83;··1二、國(guó)內(nèi)外研究現(xiàn)狀································

7、83;···········1三、研究方法························

8、··························2四、研究?jī)r(jià)值·········

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10、#183;···2第一章該歌劇對(duì)傳統(tǒng)歌劇元素的變異······························

11、···3第一節(jié)非傳統(tǒng)的戲劇設(shè)計(jì)···················! ! 三············

12、;·····3一、簡(jiǎn)化劇中人物關(guān)系·····························

13、3;·········3二、淡化具體敘事情節(jié)·························

14、83;·············5三、非傳統(tǒng)的戲劇沖突表現(xiàn)形式····················

15、3;··········8第二節(jié)歌唱設(shè)置自由化························

16、83;···············1 0一、體裁形式一一多吟誦性、念唱性唱段·················

17、3;···1 0二、演唱風(fēng)格——以通俗演唱風(fēng)格為主························1 2第三節(jié)強(qiáng)化器樂(lè)的表現(xiàn)功能···

18、83;································1 3一、樂(lè)隊(duì)配置簡(jiǎn)約而不簡(jiǎn)單·

19、3;································1 3二、淡化歌唱，凸顯器樂(lè)表現(xiàn)力·

20、83;····························1 4( 一) 增大器樂(lè)比例······

21、;·······························1 4( 二) 凸顯器樂(lè)表現(xiàn)力···

22、································1 5第四節(jié)以大量探戈舞蹈強(qiáng)化該歌劇戲劇功能·

23、·····················1 6一、探戈舞蹈融入該歌劇的必然性與所占比重············