红梅盛开 喜获众芳
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摘要
中国声乐艺术高等教育不足百年的历史,但今天的中国声乐艺术已成就斐然,取得成就的背后,这是无数声乐艺术者在中国声乐艺术发展道路上的不断探求与创新的结果,也是本民族传统文化与外来文化相互吸收与借鉴融合的结果。随着我国改革开放的不断深入,西洋美声唱法在中国的影响进一步加深,给中国的声乐艺术注入了新鲜血液,在经历过几次“土洋之争”后,使许多演唱者对美声唱法有了更新的认识,并且开始尝试着借鉴美声唱法的技巧来演唱传统的本民族歌曲,在尝试中我们看到这种新的演唱方式不但没有丧失或削弱传统民歌本身的艺术感染力,反而产生了新的亮点并得到了良好的反响和观众的好评,收到了意想不到的效果,其中歌剧《江姐》的主题曲《红梅赞》就是比较有代表性的一首作品。不管是第一代“江姐”万馥香用传统的民族唱法来演唱《红梅赞》,还是第五代“江姐”王莉用西洋美声唱法演唱都取得了巨大的成功,这就启迪我们可以通过对《红梅赞》这首作品的不同唱法所带来不同审美感受的研究来探索分析中国民族唱法与西洋美声唱法的异同,通过比较可以更好的促进两种唱法的相互融合并能逐渐完善中国声乐艺术体系,推动其向一个更高层次的方向发展。
歌剧《江姐》改编于红色革命小说《红岩》,它的诞生是中国歌剧史上的第二次高峰,曾经红遍大江南北。《红梅赞》作为《江姐》主题曲也是一首被传承了近五十年之久的经典红色歌曲,它经过老一辈艺术家的艰辛努力、仔细打磨并恰如其分的契合《江姐》整部歌剧表达出了革命先烈的爱国奉献精神。本文从歌曲《红梅赞》的诞生、创作反响、不同演唱者通过民族、美声两种演唱方式演唱作品所产生的不同审美效果与感受,以及对两种唱法融合的一些思考等问题进行了论述,并结合作者本人在学习民族与美声两种唱法时的体会与感受,形象直观的对民族和美声唱法演唱的异同点进行了比较与研究。《红梅赞》不同唱法所收到的良好艺术反响对于启迪今后声乐艺术如何发展有着重要的作用,从五代“江姐”演唱《红梅赞》的各自特点和给我们的不同审美感受可以看出不论是中国民族唱法还是西洋美声唱法都有各自的优点。值得我们思考的是,在世界文化大融合的背景趋势下,两种唱法要在相互借鉴融合、兼容并包的基础上不断创新,发掘新的亮点,使中国声乐艺术向着一个更高的水平发展。
本论文以歌剧《江姐》的主题曲《红梅赞》民、美两种唱法产生的不同审美感受为研究对象,分三章进行论述:
第一章主要是对歌剧《江姐》主题曲《红梅赞》创作背景的介绍,首先是分析了小说《红岩》的创作背景以及歌剧《江姐》的创作来源,其次是《红梅赞》的诞生以及几位主创人员在创作时的艰辛历程。
第二章先是细致的分析了《红梅赞》的曲式结构,找出整部歌剧《江姐》中出现过《红梅赞》旋律的片段进行详尽的分析,其次论述了民族唱法和美声唱法的概念以及铁金用民族唱法演唱的《红梅赞》和王莉用美声唱法演唱的《红梅赞》给人带来的不同审美感受,最后比较了五代“江姐”对《红梅赞》的不同演绎以及所带来的不同审美感受。由此表明了民族唱法与美声唱法虽然各有特点,但不管是哪种唱法都是对情感的表达,这就决定了两者可以求同存异,相互融合。
第三章是对《红梅赞》传承五十年之久的思考,主要是对歌曲《红梅赞》的创作以及作品本身在当时以及现在所产生的巨大反响与现实意义的分析;在词曲的创作以及民族唱法与美声唱法的融合三个方面来论述的。《红梅赞》这首作品不但歌词优美、谱曲悠扬,而且在几十年的表演中,我们在它身上看到了中西文化的交融。《红梅赞》的辉煌成就是传统与现代相结合,东方与西方相交流,探索与创新共努力的结果。随着大批优秀青年歌唱家的涌出,那么在今后声乐发展的道路中,我们改革取向应朝着多元化的方向去努力。
China voices from the creation of art and a hundred years, but today's Chinese is distinguished and the art achievements of the art of vocal music is on the road of development and innovation and constantly explore is the traditional culture and foreign cultures blend into each other and learn. as a result of our reform and opening up, bel canto in china to further deepen impact on Chinese art of vocal some fresh blood, the several "the dispute, the Yankees Many singers at bel canto with a new light and began to learn the technique at bel canto to sing the songs of traditional, we see in this new singing way instead of losing or weakened traditional folk art of appeal itself, instead of creating new types of views and received favorable responses and the audience, and paid off, miss jiang on the theme‘’Hong Meizan’are more representative of a works Whether the first generation "miss jiang" Wang Fuxiang with traditional national singing to sing the "fifth’Hong Meizan’or" miss jiang "bel canto wang li in western songs have achieved tremendous success, it will enlighten us by the’Hong Meizan’of the different singing by different aesthetic experience of studies to explore Chinese folk singing with western bel canto by comparing the difference and can better facilitate the integration of two and gradually perfect the art of vocal The opera "miss jiang adapted to the red revolution hong'am", it is the birth of the Chinese opera in the history of the second, once again the red. the’Hong Meizan’as the theme of miss jiang also is a poem by inheritance for nearly fifty years of the classic songs, and red by the artist's hard work, carefully polishing and appropriate embrace the whole opera, miss jiang expressed the revolutionary martyrs laid down their patriotic spirit of sacrifice. From the birth of the song’Hong Meizan’, creative, the singer's response by ethnic, bel canto two singing way with the works of art to feel different, for both singing of the integration of thinking and some problems, and with the author himself on to study national and bel canto two singing of the experience and feeling, visual in image of the national and bel canto of the time difference and study.’Hong Meizan’of the different singing has received favourable response to edify the art of vocal art how to develop an important role in the five "miss jiang"’Hong Meizan’of the respective characteristics and to our different aesthetic feel i can see that both chinese folk singing or western bel canto has advantages. thus concluded that the integration of the world cultural background trend, two runs to learn from each other and supports the basis for the innovation.
This paper to the opera miss jiang "theme of the people and beautiful’Hong Meizan’two runs a different aesthetic sense for study and three chapters in dealing with :
The first chapter of the opera is mainly miss jiang theme of the "creative settings’Hong Meizan’, the first is to analyze the hong'am," the creation of the background, miss jiang of creation, and secondly is the source of’Hong Meizan’, and several personnel in the creation of the final analysis the difficult process .
The second chapter first detailed analysis of the structure of’Hong Meizan’to the opera "the sister jiang has been’Hong Meizan’of the melody of a detailed analysis, and secondly, the folk singing and bel canto concept and Tie Jin used to sing folk singing’Hong Meizan’and wang li in bel canto sing’Hong Meizan’has different taste, is the last five "miss jiang on the interpretation of different’Hong Meizan’and the different aesthetic feel. This shows that the national singing and bel canto although features, but no matter what kind of singing is to express feelings, for this, they may seek common ground while reserving differences and integration.
Chapter 3 of the "lineage’Hong Meizan’fifty years, mainly in creation and the national singing and bel canto of the three sides come on. the’Hong Meizan’of the work is not only beautiful, devoted to music, but decades of the performance on it,’Hong Meizan’the creation of the song, and work at the time, and now the great repercussions and realistic significance. we saw the Chinese and western cultures blend’Hong Meizan’. the achievements of the traditional and modern, the eastern and western exploration and innovation, the exchange of effort. With many outstanding young singer, and then in the future development of the road, we should reform the orientation towards diversification efforts.
歌剧《江姐》改编于红色革命小说《红岩》,它的诞生是中国歌剧史上的第二次高峰,曾经红遍大江南北。《红梅赞》作为《江姐》主题曲也是一首被传承了近五十年之久的经典红色歌曲,它经过老一辈艺术家的艰辛努力、仔细打磨并恰如其分的契合《江姐》整部歌剧表达出了革命先烈的爱国奉献精神。本文从歌曲《红梅赞》的诞生、创作反响、不同演唱者通过民族、美声两种演唱方式演唱作品所产生的不同审美效果与感受,以及对两种唱法融合的一些思考等问题进行了论述,并结合作者本人在学习民族与美声两种唱法时的体会与感受,形象直观的对民族和美声唱法演唱的异同点进行了比较与研究。《红梅赞》不同唱法所收到的良好艺术反响对于启迪今后声乐艺术如何发展有着重要的作用,从五代“江姐”演唱《红梅赞》的各自特点和给我们的不同审美感受可以看出不论是中国民族唱法还是西洋美声唱法都有各自的优点。值得我们思考的是,在世界文化大融合的背景趋势下,两种唱法要在相互借鉴融合、兼容并包的基础上不断创新,发掘新的亮点,使中国声乐艺术向着一个更高的水平发展。
本论文以歌剧《江姐》的主题曲《红梅赞》民、美两种唱法产生的不同审美感受为研究对象,分三章进行论述:
第一章主要是对歌剧《江姐》主题曲《红梅赞》创作背景的介绍,首先是分析了小说《红岩》的创作背景以及歌剧《江姐》的创作来源,其次是《红梅赞》的诞生以及几位主创人员在创作时的艰辛历程。
第二章先是细致的分析了《红梅赞》的曲式结构,找出整部歌剧《江姐》中出现过《红梅赞》旋律的片段进行详尽的分析,其次论述了民族唱法和美声唱法的概念以及铁金用民族唱法演唱的《红梅赞》和王莉用美声唱法演唱的《红梅赞》给人带来的不同审美感受,最后比较了五代“江姐”对《红梅赞》的不同演绎以及所带来的不同审美感受。由此表明了民族唱法与美声唱法虽然各有特点,但不管是哪种唱法都是对情感的表达,这就决定了两者可以求同存异,相互融合。
第三章是对《红梅赞》传承五十年之久的思考,主要是对歌曲《红梅赞》的创作以及作品本身在当时以及现在所产生的巨大反响与现实意义的分析;在词曲的创作以及民族唱法与美声唱法的融合三个方面来论述的。《红梅赞》这首作品不但歌词优美、谱曲悠扬,而且在几十年的表演中,我们在它身上看到了中西文化的交融。《红梅赞》的辉煌成就是传统与现代相结合,东方与西方相交流,探索与创新共努力的结果。随着大批优秀青年歌唱家的涌出,那么在今后声乐发展的道路中,我们改革取向应朝着多元化的方向去努力。
China voices from the creation of art and a hundred years, but today's Chinese is distinguished and the art achievements of the art of vocal music is on the road of development and innovation and constantly explore is the traditional culture and foreign cultures blend into each other and learn. as a result of our reform and opening up, bel canto in china to further deepen impact on Chinese art of vocal some fresh blood, the several "the dispute, the Yankees Many singers at bel canto with a new light and began to learn the technique at bel canto to sing the songs of traditional, we see in this new singing way instead of losing or weakened traditional folk art of appeal itself, instead of creating new types of views and received favorable responses and the audience, and paid off, miss jiang on the theme‘’Hong Meizan’are more representative of a works Whether the first generation "miss jiang" Wang Fuxiang with traditional national singing to sing the "fifth’Hong Meizan’or" miss jiang "bel canto wang li in western songs have achieved tremendous success, it will enlighten us by the’Hong Meizan’of the different singing by different aesthetic experience of studies to explore Chinese folk singing with western bel canto by comparing the difference and can better facilitate the integration of two and gradually perfect the art of vocal The opera "miss jiang adapted to the red revolution hong'am", it is the birth of the Chinese opera in the history of the second, once again the red. the’Hong Meizan’as the theme of miss jiang also is a poem by inheritance for nearly fifty years of the classic songs, and red by the artist's hard work, carefully polishing and appropriate embrace the whole opera, miss jiang expressed the revolutionary martyrs laid down their patriotic spirit of sacrifice. From the birth of the song’Hong Meizan’, creative, the singer's response by ethnic, bel canto two singing way with the works of art to feel different, for both singing of the integration of thinking and some problems, and with the author himself on to study national and bel canto two singing of the experience and feeling, visual in image of the national and bel canto of the time difference and study.’Hong Meizan’of the different singing has received favourable response to edify the art of vocal art how to develop an important role in the five "miss jiang"’Hong Meizan’of the respective characteristics and to our different aesthetic feel i can see that both chinese folk singing or western bel canto has advantages. thus concluded that the integration of the world cultural background trend, two runs to learn from each other and supports the basis for the innovation.
This paper to the opera miss jiang "theme of the people and beautiful’Hong Meizan’two runs a different aesthetic sense for study and three chapters in dealing with :
The first chapter of the opera is mainly miss jiang theme of the "creative settings’Hong Meizan’, the first is to analyze the hong'am," the creation of the background, miss jiang of creation, and secondly is the source of’Hong Meizan’, and several personnel in the creation of the final analysis the difficult process .
The second chapter first detailed analysis of the structure of’Hong Meizan’to the opera "the sister jiang has been’Hong Meizan’of the melody of a detailed analysis, and secondly, the folk singing and bel canto concept and Tie Jin used to sing folk singing’Hong Meizan’and wang li in bel canto sing’Hong Meizan’has different taste, is the last five "miss jiang on the interpretation of different’Hong Meizan’and the different aesthetic feel. This shows that the national singing and bel canto although features, but no matter what kind of singing is to express feelings, for this, they may seek common ground while reserving differences and integration.
Chapter 3 of the "lineage’Hong Meizan’fifty years, mainly in creation and the national singing and bel canto of the three sides come on. the’Hong Meizan’of the work is not only beautiful, devoted to music, but decades of the performance on it,’Hong Meizan’the creation of the song, and work at the time, and now the great repercussions and realistic significance. we saw the Chinese and western cultures blend’Hong Meizan’. the achievements of the traditional and modern, the eastern and western exploration and innovation, the exchange of effort. With many outstanding young singer, and then in the future development of the road, we should reform the orientation towards diversification efforts.
引文
[1]修海林.罗小平.音乐美学通论.上海音乐出版社.1999
[2]钱苑.林华.歌剧概论.上海音乐学院出版社.2003
[3]李刚.中国歌剧故事集.文化艺术出版社.1988
[4]王朝闻.美学概论.人民出版社.1983
[5]余笃刚.声乐艺术美学.高等教育出版社.1993.5
[6]居其宏.歌剧美学论纲.安徽文艺出版社.2003.3
[7]管林.中国民族声乐史.人民音乐出版社.1981.1
[1]王雪燕.中国民族声乐艺术发展中的“传承”与“借鉴”.延安大学学报(社会科学版).2007年6月
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[4]李毅梅.论西洋唱法与中国传统唱法的优势互补.山西大学.2008年3月
[5]黄晓涛.从“土洋之争”到“多元发展”.福建师范大学.2007年6月
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[24]王喆.中国民族歌剧演唱艺术探微.上海音乐学院. 2009年12
[2]钱苑.林华.歌剧概论.上海音乐学院出版社.2003
[3]李刚.中国歌剧故事集.文化艺术出版社.1988
[4]王朝闻.美学概论.人民出版社.1983
[5]余笃刚.声乐艺术美学.高等教育出版社.1993.5
[6]居其宏.歌剧美学论纲.安徽文艺出版社.2003.3
[7]管林.中国民族声乐史.人民音乐出版社.1981.1
[1]王雪燕.中国民族声乐艺术发展中的“传承”与“借鉴”.延安大学学报(社会科学版).2007年6月
[2]王雪燕.试论中国声乐艺术发展的求同存异.延安大学学报(社会科学版).2004年2月
[3]韩雪静.建国十七年中国声乐艺术“土”“洋”之争的历史回顾与研究.华中师范大学.2007年8月
[4]李毅梅.论西洋唱法与中国传统唱法的优势互补.山西大学.2008年3月
[5]黄晓涛.从“土洋之争”到“多元发展”.福建师范大学.2007年6月
[6]郑宝华.中国民族声乐与美声唱法之比较研究.中国音乐(季刊). 2005年第1期
[7]梁岷冬.《试论民族唱法与美声唱法的关系》.杭州教育学院学报.2002第3期
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