歌剧的

Rossini inherited the brilliant tradition of Italian classical opera; chose typical characters and events in theme; Pursued its ampleness and showed conditions and conflicts in personalities; Adjusted the inne...

在继承意大利古典歌剧优秀传统的同时，在题材上选择典型的人物和事件，在人物塑造上力求丰满，表现个性冲突和矛盾；对歌剧的内部结构进行了合理的调整，改革了以往咏叹调和宣叙调交替出现，统领一部歌剧的现象；改变了歌唱家为了炫耀技巧而随意改动旋律声部，破坏剧作的统一和完整的现象；增加了重唱与合唱的分量；在歌剧管弦乐的表达上与剧作内容紧密结合，管弦乐为戏剧服务。

This chapter mainly explains the development condition of Chinese opera in 12 years, from to 1957"The new opera colloquium".

第三 中国歌剧的全面发展，本章节主要论述了中国歌剧自1957年"新歌剧讨论会"召开后到50年代末60年代中期，开始呈现出前所未有的繁荣兴盛局面。

Charles Francois Gounod (1818—1893) is one of the great French opera composers in the nineteenth century. In his operas he insisted the tenet that thoughts of roles should be expressed by the music that was plain and truehearted. He created the kind of opera named"lyric opera", which broke through the"grand opera"in France in the period of 1830s and pointed out the direction of the French opera.

夏尔·弗朗索瓦·古诺(Charles Francois Gounod，1818——1893)是19世纪中、下叶法国的一位杰出的歌剧作曲家，在歌剧创作中他强调用朴实真挚的音乐语言来表达人物情感，他创作出一种被称之为"抒情歌剧"的歌剧类型，打破了自19世纪30年代以来形成的大歌剧浮华夸张风格的传统，为法国歌剧的发展指明了道路。

The dramatist and musical characters and the perfect combine between music and drama are the purports. The thesis is divided into three parts: the preface, four chapters and the conclusion. In the preface it is explained that what in this thesis is expounded and what kinds of study about the opera there are in Chinese and in the other area of the world. The first chapter is a summary about Gounod and his"Faust", which is the typical work in lyric operas. In the second chapter analysis on drama, the character and figures of the roles in the opera is made, and the characteristic of the plot ,the creation of opera and framework is put together. In the third chapter the music in the opera is studied, and the characteristics are put together on the base of particular analysis on typical passage of aria chorus ensemble. In the last chapter, perfect combine between drama and music is presented by study on Faust's character and psychology,and it is discussed that music implied the plot. And the conclusion is a whole comment of the opera and it's musical characteristics

更多论述。全文由引言、四个章节、结论等几个部分组成：引言是关于论文的选题、国内外研究现状的陈述，指明笔者选题的意义以及国内外学者对此课题的研究程度；第一章是对抒情歌剧作曲家古诺以及抒情歌剧的典范之作《浮士德》的一个总体上的概述；第二章从人物性格与戏剧情节、戏剧结构、戏剧创作等方面对歌剧《浮士德》进行分析，归纳其戏剧特点；第三章是对歌剧《浮士德》音乐特点的研究，通过对咏叹调类、重唱类、合唱类唱段中有代表性唱段的具体分析，总结其在音乐创作方面的主要特点；第四章从音乐刻画人物的性格与心理、音乐暗示戏剧情节的发展等方面，论述了歌剧《浮士德》在戏剧与音乐方面的完美结合；结论是对歌剧《浮士德》的整体论析。

Regardless of its short-term popularity, operetta manifested a trend from serious opera to popular opera, and played a significant role in connecting traditional opera with musical.

它的流行时间虽然不长，但从整个歌剧的历史来看，轻歌剧却体现出歌剧艺术由严肃到通俗的发展趋势，起着连接传统歌剧和20世纪音乐剧的桥梁作用。

First the formation of composing features is explored with reference to the life experiences of Lehar, the social and cultural background of his age and the development of Viennese operetta; secondly, the composing features are analyzed as to rhythm, melody, instruments device, ensemble and play books; Finally, the work is analyzed from the angle of singing. In this part the style of singing is explained specifically in terms of rhythm, timbre, etc. Also a famous Aria "vilja-lied" in this work is explained in detail and a comparison is made between operetta and opera to impress people with the singing style of operetta in a deeper way.

首先，本文从雷哈尔的生活经历、所处时代的社会文化背景、维也纳轻歌剧的发展来分析《风流寡妇》创作特特征的形成；其次，从节奏、旋律、配器、重唱以及剧本这几个方面来分析作品的创作特征；最后，从演唱的角度分析作品，除了从节奏、音色、起句等方面具体的分析作品的演唱风格外，还对其中的一首著名咏叹调维利亚之歌做了详细地分析，并且从演唱的角度把轻歌剧和歌剧做了一个比较，从而使人们能够更深刻的理解轻歌剧演唱的风格。

Gioachino Antonio Rossini was a person to revival of Italian opera.

罗西尼是意大利歌剧的复兴者，他继承了意大利民间音乐的特点和意大利歌剧传统体裁形式，在意大利歌剧日趋衰微时，他创作了一大批歌剧精品，使得意大利歌剧重现辉煌。

Among the Italian opera composer, even though no Bellini Rossini, Verdi then Historiography of the high-status, but with his unique musical language with the concept of the opera maintains the Italian lyric opera tradition, the impact of the Italian opera Development, to defend him in the tradition of Italian opera, based on the establishment of a distinctive artistic personality characteristics.

在众多的意大利歌剧作曲家中，贝利尼尽管没有罗西尼、威尔第那么高的史学地位，但他以他特有的音乐语言与歌剧观念维护着意大利歌剧的抒情传统，影响着意大利歌剧的发展，在捍卫意大利歌剧传统的基础上，建立了自己个性鲜明的艺术特色。

He produced a large quantity of mucic works in his lifetime, included 22 operas, his perfect opera achievement is Le nozze di Figaro, Don Giovanni and Die Zauberflote in his later years, all these master pieces are experienced a long time to create, we have to learn his early opera so that we can know him and his later operas better.

他一生写了大量的音乐作品，其中歌剧就有22部，最为我们熟知的是他后期创作的《费加罗的婚礼》、《唐·璜》和《魔笛》等。为探索莫扎特歌剧的成熟过程，进一步认识和了解莫扎特，更好的把握他歌剧的演唱风格，我们有必要研究他早期的歌剧。

After several years of singing operetta and light opera in Norway, Flagstad was persuaded to take on heavier, dramatic roles, including those of Verdi and eventually Wagner.

再经过了几年轻歌剧的演唱和于挪威的轻歌剧院演出后，弗拉格丝塔特小姐被人说服去演绎那些更具分量，更有戏剧性效果的正歌剧角色，包括意大利歌剧泰斗威尔蒂的重要歌剧名角。最后，当然包括歌剧殿堂内终不可少的德意志民族终极歌剧大帝——瓦格纳的经典作品。

The absorption and distribution of chromium were studied in ryeusing nutrient culture technique and pot experiment.

采用不同浓度K2CrO4(0，0.4，0.8和1.2 mmol/L)的Hoagland营养液处理黑麦幼苗，测定铬在黑麦体内的亚细胞分布、铬化学形态及不同部位的积累。

By analyzing theory foundation of mathematical morphology in the digital image processing, researching morphology arithmetic of the binary Image, discussing two basic forms for the least structure element: dilation and erosion.

通过分析数学形态学在图像中的理论基础，研究二值图像的形态分析算法，探讨最小结构元素的两种基本形态：膨胀和腐蚀；分析了数学形态学复杂算法的基本原理，把数学形态学的部分并行处理理念引入到家实际应用中。