歌剧《原野》中“金子”的主要唱段及演唱风格研讨.pdfVIP

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歌剧《原野》中“金子”的主要唱段及演唱风格研讨.pdf

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姓名：王文学号：2008020695 专业：音乐学邮箱：wangwen0726@126.com 学院：音乐学院目录中文摘要·························································································································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··································