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헨델의 오라토리오 <메시아>합창곡에 대한 효과적인 연주방법 연구
Händel(Georg Friedrich Handel, 1685-1759) was a representative composer of baroque music. His most remarkable work as leading music of Baroque period, Oratorio <The Messiah>, well expressed sincereness to God with religious music based on his inner piety. Thanks to this work, Händel established his position as an oratorio composer. Most of all, he placed a priority on chorus and the main melody of chorus. Through Händel’s oratorio <The Messiah>, we are capable of knowing music backgrounds of Baroque period, compositional techniques and development of vocal music and instrumental music as well as finding that performer started to improvise freely. Händel’s <The Messiah> is widely known and loved, composed of 3 parts. Part 1 expresses the rhythm of a piece of dance music and the termination of slow tempo in the last chorus part besides polyphony used freely in chorus as a subject based on prophecy and birth. Part 2 expresses fugue form as a subject concerning suffering and atonement, representing feature that responds to varieties of structural form such as monophony, polyphony, homophony. Part3 expresses resurrection and eternal life, showing the magnificence of the chorus as to fugue form. the lyrics were based on the Bible, particularly, part 3 was based on the New Testament, and the content of the whole lyrics is the search for the origin of God. Today, this song is performed as a chorus as a process to go through chorus conduction, which is a necessary factor for research.
谐音是指语言运用中借助于发音相同或相近的语音特点来表达意思的一种修辞手段。谐音大多通过联想的方式,由某实物的语音想到与之语音相同或相似的另一词的词义。谐音作为一种语言现象普遍存在于各种语言之中,而在汉语中尤其多见。 本文拟对中國語諧音的運用與效果进行研究。在諧音運用的研究方面,分为“文学作品”、“商业广告”、“民间风俗”、“日常生活”四类。在文学作品中,谐音双关是一种常用的修辞手法,有着独特的魅力。利用音同音近的字词有意使词句同时兼有两种意思,言在此而意在彼,由表及里,由导体“表”引出隐含的主体“里”,“导体”与“主体”间的纽带便是谐音。如唐代李商隱≪無題≫:“春蠶到死絲方盡,蠟炬成灰淚始干”,“絲”谐“思”,表达对爱情的执着;在商业广告中,借音换字,也可以取得特殊意义和效果。≪三国演义≫开篇句是“分久必合,合久必分”,用以反映事物发展的客观规律,山西汾酒广告词即谐此音:“汾酒必喝,喝酒必汾”。它是用同音字或近音字进行谐音换字而形成的。其形式、音节相似,意义却完全发生了改变。谐音充分利用换字简练生动、音节响亮、易读易记等优点,使广告词显得新奇有趣、言简意赅、通俗易懂,让人过目不忘,印象至深,大大增强了广告的艺术魅力;在民间风俗中,喜欢用谐音以祈福是人们求吉避凶心理的一种表现形式,也就是人们常说的吉利语。如中国婚俗在床上撒大枣、花生、桂圆、莲子,谐“早生贵子”。过年送礼最好送“鱼”, 谐“富裕”,“富余”,“年年有余”。过春节时,家家户户故意把“福”字倒贴在大门上,取“福到了”的口彩,因“倒”和“到”构成谐音。谐音文化从一个侧面反映了汉民族的风俗习惯和社会礼仪风尚;在日常生活中,谐音的使用也很广泛。许多歇后语都是谐音的妙用,在一定的语言条件下,用“借音指意”的方式来表达暗藏的意思。日常的口头交际中利用谐音方式可以增加语言的形象性、生动性和幽默性,达到令人解颐的效果。现在报刊杂志、电视广播中也常见借用谐音改动成语或固定表达中的某一个字词以取得幽默和讽刺效果的现象。 在谐音效果的研究方面,本文总结出谐音有含蓄和余味,诙谐和机智,祈福和禁忌,委婉和节制的效果。利用相同或相近语言成分的再现或联想来突出语义重点,利用不同语义之间的语音联系来巧妙地表达说话人的爱憎情感和褒贬态度,正是谐音这种修辞手段所带来的特有效果。谐音还可以与其他多种辞格综合运用,使语言的艺术魅力得到充分表现。 汉语中谐音现象的广泛运用丰富了语言文字的表现手段,并且随着大量的谐音词句的不断涌现,对汉语表达所带来的影响也在日趋加深。因此,收集汉语中谐音语料并对其运用规律和运用规范加以深入研究,有着十分重要的意义。