歌剧《原野》中“金子”的主要唱段及演唱风格的研究.pdf

目 录 中文摘要·························································································································I Abstract ························································································································III 引 言····························································································································1 一、本课题研究的目的和意义·············································································1 二、本课题研究现状分析·····················································································2 第一章 歌剧《原野》概述························································································4 第一节 歌剧《原野》的创作背景·····································································4 一、话剧《原野》的创作背景和故事梗概··················································4 二、歌剧《原野》的创作背景······································································5 三、歌剧《原野》的创作风格······································································7 第二节 歌剧《原野》的剧情结构和音乐特征·················································9 一、歌剧《原野》的剧情结构······································································9 二、歌剧《原野》的音乐特征····································································10 第二章 金子的戏剧形象和审美价值分析······························································13 第一节 金子的戏剧形象分析···········································································13 一、“大我”形象的金子············································································14 二、“小我”形象的金子············································································15 第二节 金子形象的审美价值···········································································17 一、金子形象的“崇高”美········································································17 二、金子形象的“悲壮