论文部分内容阅读
由于莫扎特的声乐作品能较好的体现欧洲声乐教学体系所要求的演唱者良好的气息支持、连贯通畅的声音、音质的纯正等诸多特点,对于稳定声音、气息支持、提高演唱技巧有重要的训练价值,因此成为声乐学术界研究的焦点。而他的音乐会咏叹调由于体裁特殊,极具抒情性和歌唱性、音乐线条起伏较大、音乐情绪感染力强、演唱者发挥空间大等诸多特征,则更具有极大的研究价值。本文以莫扎特的两首女高音音乐会咏叹调(《伟大的灵魂,高贵的心灵》、《我走向何方?》)为例,通过进一步研究和掌握莫扎特音乐会咏叹调的作品创作的总体风格特征、与他的其他声乐体裁相比较,从而使表演者在演唱中更好地展现莫扎特此类作品的风格魅力。
As Mozart’s vocals can better reflect the good vocal support of the vocalist required by the European vocal music teaching system, the smooth and unobstructed sound, the pure sound quality and many other features, there is an important training for stabilizing the sound, supporting the atmosphere and improving singing skills Therefore, it has become the focus of vocal academic research. His concert aria because of the special genre, highly lyrical and singing, music lines ups and downs, strong emotional appeal to music, singers play a large space and many other features, it is of great research value. Taking the two aria of Soprano concert (“Great Soul, Elegant Mind” and “Where Am I Going?”) As an example, this article attempts to study and grasp the general stylistic features of Mozart’s concert aria, His comparison of other vocal genres allowed the performer to better demonstrate the style and charm of such works by Mozart in his performance.