《虞美人·春花秋月何时了》演唱探究

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1、培养类型□学术学位□专业学位√20131705049学号《虞美人·春花秋月何时了》演唱探究陈玥武汉音乐学院硕士研究生学位论文陈玥《虞美人•春花秋月何时了》演唱探究》1武汉音乐学院硕士研究生学位论文陈玥《虞美人•春花秋月何时了》演唱探究》目录摘要··································································································································3ABSTRACT·········

2、················································································································4引言······························································································································5第一节李煜及其《虞美人·春花秋月何时了》········

3、··············································6一、李煜其人·············································································································6二、《虞美人·春花秋月何时了》···········································································6第二节《虞美人•春花秋月何时了》

4、演唱探究························································8一、周家声版本的演唱探究·····················································································9二、《太古遗音》版本的演唱探究·········································································13结语···················

5、·········································································································16参考文献：···················································································································16附录：虞美人曲谱·································

6、······································································172武汉音乐学院硕士研究生学位论文陈玥《虞美人•春花秋月何时了》演唱探究》摘要本文对《虞美人·春花秋月何时了》这首歌曲进行了两个版本的演唱探究。这两首歌曲的文字与曲调部分基本符合古诗词演唱平仄规律，达到了声调与语调的统一，有些不统一的地方则要进行修饰让它尽量的不倒字。在演唱这首作品时要先了解《虞美人》这首词谱、《春花秋月何时了》的词调、声调，要注意字的第三声和第四声仄声字的“颠落”处理；有介母的

7、字必须逐音过度清楚，依字行腔，音色处理上不能过于明亮，与人物性格、作品意境不相符；通过古曲的“推提”等手法，在声乐技术允许的范围内准确的表达出李煜这首作品的“愁”。关键词:虞美人；词牌；词调；词谱；演唱探究；3武汉音乐学院硕士研究生学位论文陈玥《虞美人•春花秋月何时了》演唱探究》AbstractInthispaper,thecornpoppy•autumnwhensingingthissonghastwoversionsoftheinquiry.Thesetwosongswordsancientpoetrysungwellinacco

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