论抒情型女高音咏叹调选择的合理性

【作者】 林婕；

【导师】 黄明水；

【作者基本信息】 山东师范大学 ， 音乐学， 2007， 硕士

【摘要】 在欧洲声乐发展史上,美声唱法(Bel canto)作为西方歌剧表演的声音载体,与歌剧的发展是携手共进的关系。西方歌剧的飞速发展带动了美声唱法理论研究的日益完善,确定了女高音声部更为科学和精确的划分。不同的音质、音色、音域以及生理特点形成了演唱者各自独特的声音类型,如女高音声部大致可分为抒情型女高音、戏剧型女高音和花腔型女高音三种基本声音类型。每种声音类型里又可以有更细致的划分,如抒情型女高音可分为:小号抒情女高音、抒情女高音、大号抒情女高音和抒情花腔女高音四种声音类型。结合这种声音上的细致划分可以让演唱者更加准确地认清自己声音的隶属类型,以便更合理地选择适合自己声音类型的咏叹调作品,这对于科学地训练声音有着极为重要的意义。目前,由于声乐学习者和演唱者对不同声音类型认识上的局限性,以致在声音训练和演唱中对咏叹调的选择上存在着盲目性、随意性、无针对性,这给声音训练和嗓音的发展带来很大的负面影响,轻者损害声带,重者终生不能歌唱。本论文通过对抒情型女高音不同声音类型的研究,对比介绍了每种声音类型各自的声音特点和代表性角色,并以咏叹调实例分析说明了适合此声音类型演唱的理论依据。笔者属抒情型女高音声部,在多年的声乐学习和演唱实践中深深体会到选择适合自己声音类型的咏叹调作品在声音训练过程中的重要性,所以希望通过本文的研究能够给声乐教学和声乐演唱者以启示和借鉴。本论文共分四个章节。第一章为引言部分,揭示文章的选题意义和目前的研究现状,明确文章的研究重点和研究方法。第二章,简要介绍抒情型女高音声音类型的划分及划分依据。第三章是本论文的重点章节,共分为四个小节,分别介绍了小号抒情女高音、抒情女高音、大号抒情女高音和抒情花腔女高音各自的声音特点,分析列举了以上不同声音类型的代表性角色和咏叹调作品,并通过举例详细分析了所列举的咏叹调适合这种声音类型的理论依据。第四章介绍了抒情型女高音的声音类型转型以及在转型过程中对咏叹调的合理选择。结语部分,强调因材施教——选择适合自己声音类型的咏叹调作品,对科学、规范的声音训练的积极意义。更多还原

【Abstract】 In the history of Europe vocal music, Bel canto accompanies opera in the developing process, as it is the carrier of western operatic performance. The development of western opera promotes the theoretical research of Bel canto and defines the voice part of soprano more scientifically. Tone quality, tone color, tone range and physical features determine voice pattern, and according to this, soprano can be divided into lyric soprano, dramatic soprano, and coloratura. Every one can be further divided. For instance, lyric soprano includes lyric light soprano; lyric soprano; lyric spinto soprano and lyric coloratura. Learning the classification, singer could see through to the type of his voice, in order to select suitable aria works. Owing to the understanding limitation in distinguishing different voices, vocal music learners and singers is blind, random and pointless, which have a negative influence on the singers, namely lead to sound track injury, even to sing no longer. Through the research on different lyric soprano voice, this thesis introduces vocal features and representative roles of every voice type and discusses the theoretical foundation by some aria examples. The author, who herself is lyric soprano, is aware that to choose the aria which fit one’s voice is very important in voice training. This thesis hopes to shed light on vocal music teaching and learning.Chapter one is the introduction in which the significance of the thesis is explored. It introduces the literature review and confines the research methodology. Chapter two briefly introduces the division of soprano and its foundation. Chapter three is the key part of the thesis. It includes four sub-parts, forming the sequence of the lyric light soprano; lyric soprano; lyric spinto soprano; lyric coloratura. Every section analyzes its typical roles and representative aria works, meanwhile researches into the reasons of the harmony between voice and the aria and discusses its relative theories. Chapter four analyzes the transformation of different voice parts of soprano and its reasonable choice of aria in the process. The conclusion focuses on the consequential method of scientific and regular voice training. The most significant way is to choose an aria that fits the singer’s voice.更多还原