【作者】 哈斯；

【导师】 郭伟平；

【作者基本信息】 内蒙古师范大学 ， 音乐与舞蹈学， 2015， 硕士

【摘要】 女中音作为一个独特的声部,自十三、十四世纪复调四声部产生后,在西方平稳的发展着,并呈现出不断壮大的趋势。女中音声部作为一个具有典型艺术特征的声部,在歌剧作品中因其特殊的音质魅力而适用于扮演不同的角色,在歌剧舞台上具有举足轻重的地位。女中音声音音质圆润、丰满,低音区虽低沉但不失明亮,高音区虽高亢但不失圆润,饱满柔和的中音区,听起来给人以美的享受。纵观女中音在歌剧发展历程,女中音自十三、十四世纪四部和声出现至今,在西方的发展一直呈上升趋势,发展不断壮大。女中音的角色也由开始多扮演奴仆、老妇等陪衬角色逐渐走上了扮演歌剧女主角的位置。但女中音在中国的发展却并不顺畅,适合女中音演唱的作品极少,而且女中音在中国歌剧中大多以配角形式出现。在中国的传统音乐中,并没有声部区分的概念。到二十世纪上半叶随着美声唱法的引进及新歌剧的产生,虽出现了一些女中音的曲目,但在歌剧舞台上仍没有女中音角色的一席之地。中国歌剧发展至今,其中的女中音歌剧角色寥寥无几,如施光南的歌剧作品《屈原》中的南后,歌剧作品《伤逝》中的幕后女歌者……女中音在中国歌剧发展史上,不仅角色出现的稀少,而且即使有出现也是配角,有的甚至连角色名字都没有,都只是一直在幕后出声而未上舞台。歌剧《再别康桥》中陆小曼这个女中音角色算是女中音真正走上中国歌剧女主角的“第一人”。引言部分主要涉及到了这篇论文观点论述的主要缘由、背景、此观点现实的情况、被提出来作为论文研究的必要性,和之前相关领域人士所做的一些研究情况,说明本论文的研究与之前研究情况的关系,强调本论文的主题。本论文介绍了我国第一部小剧场歌剧《再别康桥》的相关情况,包括歌剧的题材、内容等,并为之后论文的展开阐述提供基础理论知识。之后的这一部分是本论文的重点章节。主要对“陆小曼”这个女中音歌剧角色进行分析研究。从以下四个方面:陆小曼的艺术形象,人物形象塑造、性格刻画和女中音的声部划分,角色的咏叹调演唱要求从而展开研究分析。以“陆小曼”这个女中音角色演唱的咏叹调为例,来进行分析研究。从咏叹调本体出发,来研究咏叹调《旋律中忘记一切》的音乐分析及演唱要求;结合笔者自身体会,分析自身演唱经历及感受,更好的分析与研究、体会“陆小曼”这个独特的女中音角色。通过两位不同歌者对“陆小曼”这一人物演绎的不同版本来更好的分析研究陆小曼这个人物形象。在总结部分,女中音这一独特声部在中国歌剧发展中进入新纪元的今天,要以一个如何的面貌来展示女中音的魅力。“陆小曼”这个女中音角色就是一个很好的典范。更多还原

【Abstract】 Opera as a comprehensive art, give priority to with singing, a blend of symphony, dance, drama and other forms, highly expressive force. The Florence, Italy, born in the 16 th and 17 th centuries after growing development, various countries gradually formed the various periods of various schools of different types of opera. To the development of the 20 th century 20 or 30 s to China, after Chinese opera and keep learning, and development. Opera "on leaving Cambridge" as the representative work of a small theater opera in the new period in China, created a precedent in the history of this form of opera in Chinese opera.Mezzo-soprano as a unique voice, since the 13 th and 14 th century polyphonic four-part produce, in the western steady development, and presents the growing trend, and contraltos in China’s development is not smooth, very little work for singing mezzo-soprano, and mezzo-soprano with supporting form mostly in Chinese opera. His best-known opera "is the role of lu xiaoman the mezzo-soprano mezzo-soprano real on the" first person "of Chinese opera actress.The introduction part mainly involves this paper discusses the main reason, background, the point of the reality, is put forward, the paper studies the necessity of and related people do some research before, and the research of this thesis research before, the relationship between stress the theme of this paper. This paper first through the development of opera history to introduce the formation and development of opera, and its development in China and other relevant information. Including the birth of opera, develop and grow, and so on and so forth, and the development of opera in China, especially in small theater opera come into China after the development. Second, will focus on introducing mezzo-soprano this particular parts of the relevant information. Mainly introduces the formationand development of mezzo-soprano and mezzo-soprano by supporting role to the leading role in the opera works of position shift, etc. The author hope that through the above introduction, can let the reader to mezzo-soprano and mezzo-soprano opera have a clear understanding on the macro, and have deep understanding on related domain knowledge. Then, the paper introduces the our country the first theater opera "on leaving Cambridge" related situation, including opera theme, content, etc., and provide the basic theory in this paper after knowledge. After this part is the key chapter of this paper. Mainly analyzes the mezzo-soprano opera "lu xiaoman" role. From the following four aspects: lu xiaoman’s artistic image, character image creation, character depicting and mezzo-soprano voice partition, the role of the aria singing and study analysis. The singing mezzo-soprano role as the "liu xiaoman" aria, for example, to analysis research. From aria ontology, to study the aria forget everything in the melody of music analysis and singing requirements; In combination with the author’s own experience, analysis of its experiences and feelings, better analysis and research, to experience the unique mezzo-soprano "lu xiaoman" role. Through two different singers on the character "lu xiaoman" deductive analysis of different versions to better lu xiaoman the character image. In the conclusion part, a distinctive voice mezzo-soprano opera developing into a new era in China today, how to be a face to show the charm of mezzo-soprano. The mezzo-soprano "luxiaoman" role is a very good example.更多还原