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学位授予单位 山东师范大学  

中文关键词 黄自;艺术歌曲;作品分析;创作特征;演唱风格  

导师 黄明水  

论文级别 硕士  

学科专业名称 音乐学  

中文摘要 作为一种歌唱的音乐形式,艺术歌曲是绽放在19世纪欧州所兴起的浪漫主义运动之中的一棵奇葩。以舒伯特、舒曼为代表的德奥作曲家们最先赋予了这一音乐形式以崭新的艺术特征和风貌,后经过欧洲众多作曲家的不断繁衍,使得艺术歌曲以其严肃、深刻的作品主题,抒情、浪漫的艺术风格,丰富、完美的结构与技巧,成为涵盖欧洲一百多年浪漫主义时期乃至今天音乐文化的重要代表之一。受西方音乐艺术思潮的影响,在20世纪20、30年代的中国也相继出现了艺术歌曲这一音乐形式。他一方面积极吸收了德奥艺术歌曲的优秀成就,同时,对中国传统的音乐文化给予了具有建设性的发展,进而使其成为在中国近代史上较早出现的具有东、西音乐文化交融和中国特色的艺术形式。20世纪20年代初至30年代末是中国艺术歌曲从形成、发展,到成熟的重要时期。黄自,是中国近代音乐史上这一时期的重要代表人物之一,他以34个春秋的短暂一生,尤其是在回国后仅约十年的音乐活动中,为我国专业音乐的发展作出了不可磨灭的贡献。黄自先生的作品主要是声乐,他的抒情歌曲是他全部创作中特别有艺术价值的部分。正如钱仁康先生在《黄自的生活与创作》一文中称道:"他在我国初垦的音乐园地里辛勤耕耘,催发出一朵朵艺术歌曲的鲜花……”。黄自先生善于用精练的音乐语言表现诗的境界,音乐语言在形式上和内容上都和诗歌结合得非常妥帖,《思乡》、《春思曲》、《玫瑰三愿》都是他艺术歌曲的代表作。黄自既受到过正规西方音乐教育,也接受过中国传统音乐的熏陶,留学归国后更是致力于民族音乐的发展。这使他的艺术歌曲的创作既具有欧洲艺术歌曲的技巧高度,又具有鲜明的民族风格和中国特色。黄自先生的艺术歌曲,不仅在我们今天的音乐生活中起着重要的作用,而且对于我国艺术歌曲今后的发展也有其不可忽视的作用。本文是对黄自艺术歌曲的音乐本体研究和对其艺术特征及演唱风格的分析。本文分为四个章节:第一章,影响黄自艺术歌曲创作的因素。本章主要通过对黄自生平、黄自美学思想的介绍,以找到黄自进行创作的社会历史背景和思想依据。第二章,黄自艺术歌曲分析,本部分是论文的核心所在,拟将黄自的艺术歌曲从内容上的角度划分为抒情性艺术歌曲、古诗词艺术歌曲和现实性艺术歌曲三个基本类型,并进行曲式结构、调式调性、词曲结合、美学特征、演唱技巧等方面的分析。第三章,黄自艺术歌曲的写作特点。黄自自幼就受到良好的中国传统文化的教育,具备了深厚的传统文化底蕴。于1924年赴美学习,在国外系统学习和掌握了西方先进的音乐理论和作曲技术,回国后带回了西方音乐文化中的优秀成果,并将其有机地运用到中国艺术歌曲的创作实践之中。因此,  

英文摘要 As a kind of singing musical form, artistic song is a typical representation of Europeanromanticism in the 18th century. Austrian and German composers such as Franz Schubert andRobert Schumann first renewed this musical form. Then many other European composersimproved and refined the subject, artistic style, structure and techniques of artistic songs,making it one of the most important representations of musical culture. Influenced by westernmusical thought, artistic songs began to appear in China in 1920's, which not only absorbedthe European musical achievements but also speeded the development of traditional Chinesemusic. Chinese artistic songs appeared, developed and matured from the early 1920's to thelate 1930's. HuangZi, one of the important representatives in musical history of this period,contributed a lot to the development of Chinese professional music in his short life. Mr.HuangZi's composition is mainly about vocality, of which his lyric songs are most artisticallyvaluable. QianRenkang said that “he contributed so much in the newly exploited field ofChinese music” in his The Life and Composition of HuangZi. HuangZi was good atcombining poetry with musical language both in the form and content of music《Sixiang 》《Chunsiqu 》、《Meiguisanyuan 》 are all his magnum opuses. HuangZi's formaleducational experience both at home and abroad ensured that his composition was endowedwith not only the techniques of European artistic songs but also the bright nationalcharacteristics and styles. His artistic songs play an important role in the present musical lifeas well in the future development of Chinese artistic songs. In this paper, the analysis of the artistic characters and singing styles of HuangZi'sartistic songs is stated in four chapters. The first chapter is mainly about the factorsinfluencing his composition of artistic songs. In this chapter the author tries to find thefoundation of his composition through the study of his life, his aesthetic thoughts and thesocial background. The second chapter, which is the principal part of this paper, refers to theanalysis of HuangZi's artistic songs. According to different content, his opuses are dividedinto three types, i.e., lyric songs, poetic songs and realistic songs. Besides, there is theanalysis of theform structure、tonality, aesthetic characteristics, singing techniques, etc. The third chapter states the composing characteristics of HuangZi's artistic songs. His richknowledge of Chinese traditional culture and modern western musical theories andcomposing techniques made his composition of artistic songs a perfect integration of theoriental and western music culture. Thus, this chapter states respectively the influence ofEuropean composing techniques, his experiment and attempt of music nationalization and thecomparison of his contemporaries such as QingZhu and ZhaoYuanren. The last chapterstudies the singing styles of HuangZi's artistic songs. Coordinating the theoretical studieswith teaching practices, the author interprets singing styles from the perspective of aestheticprinciples and singing requirements.。