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Shakespeare and the Actor

為了解決Vocal meaning的問題，作者 這樣論述：

What is a ’Shakespearean actor’? Does the term still have any meaning? Drawing on the biographical and autobiographical accounts of actors and directors, as well as on interviews with actors from a wide range of backgrounds, this book looks at these questions in a variety of contexts, historical

and contemporary. A survey of the training of the classical actor, with its increasing vocal and physical demands, considers how it, like its subsequent career path, is affected by class and gender. There is discussion of the uneasy balance of power between actors and directors, rehearsalpractice, t

he difficulties faced by women as performers and directors, and attempts at undirected productions. Other chapters consider the roles that actors do and don’t want to play, and why, their relation to the Shakespeare text and editorial practice, the complex relationship between actor andaudience, and

the popularity of anecdotes about things that go wrong. Throughout, examples are taken, as far as possible, from the author’s own long experience of theatregoing. A final chapter looks at new trends in the theatre that have been accelerated by the long period of closure during thepandemic, particul

arly attempts at greater inclusivity in both actors and audiences. It concludes that the main reason Shakespeare is performed is that actors want to play the roles he wrote.

Vocal meaning進入發燒排行的影片

陳茂萱《約瑟的四件衣裳》清唱劇之指揮詮釋研究

為了解決Vocal meaning的問題，作者范敏熙 這樣論述：

陳茂萱(1936-)台灣第十七屆國家文藝獎獲獎藝術家，致力於東西方文化融合的作曲家，音樂創作著作等身的他，《約瑟的四件衣裳》為其創作生涯之首部宗教清唱劇作品。全劇以合唱（包含混聲、女聲三部、男聲三部合唱曲）、合唱與獨唱、獨唱、說白等不同人聲組合呈現，全曲以鋼琴為伴奏樂器。本作品為道生聖樂學院委託創作之作品，完成於2019年，並由道生聖樂學院詩班於2019年11月16日於新北市蘆洲功學社音樂廳，道生聖樂學院年度音樂會中首演。本作品是一齣四幕的清唱劇。第一幕《彩衣》、第二幕《血衣》、第三幕《囚衣》、第四幕《細麻衣》。透過四件衣裳所表達出的特性及意涵，描述舊約聖經創世紀卅七章至四十五章中的主角約瑟

奇妙的生命經歷，也透過這段歷史的描繪，體現上帝的全能、慈愛與信實。本論文透過實際訪談詞曲作者及資料收集，了解其生平、創作背景以及風格；以聖經經文探討及樂曲分析等方法，逐幕分析闡述歌詞內容與音樂情緒、樂曲特色及指揮技巧；提出指揮與合唱、獨唱及與鋼琴伴奏排練方法與舞台配置；並提出清唱劇部分曲目如何運用於教會禮拜中之建議。

Compositional Choices and Meaning in the Vocal Music of J. S. Bach

為了解決Vocal meaning的問題，作者 這樣論述：

Compositional Choices and Meaning in the Vocal Music of J. S. Bach collects seventeen essays by leading Bach scholars. The authors each address in some way such questions of meaning in J. S. Bach’s vocal compositions--including his Passions, Masses, Magnificat, and cantatas--with particular atten

tion to how such meaning arises out of the intentionality of Bach’s own compositional choices or (in Part IV in particular) how meaning is discovered, and created, through the reception of Bach’s vocal works. And the authors do not consider such compositional choices in a vacuum, but rather discuss

Bach’s artistic intentions within the framework of broader cultural trends--social, historical, theological, musical, etc. Such questions of compositional choice and meaning frame the four primary approaches to Bach’s vocal music taken by the authors in this volume, as seen across the book’s four pa

rts: Part I: How might the study of historical theology inform our understanding of Bach’s compositional choices in his music for the church (cantatas, Passions, masses)? Part II: How can we apply traditional analytical tools to understand better how Bach’s compositions were created and how they mig

ht have been heard by his contemporaries? Part III: What we can understand anew through the study of Bach’s self-borrowing (i.e., parody), which always changed the earlier meaning of a composition through changes in textual content, compositional characteristics, the work’s context within a larger c

omposition, and often the performance context (from court to church, for example)? Part IV: What can the study of reception teach us about a work’s meaning(s) in Bach’s time, during the time of his immediate successors, and at various points since then (including our present)? The chapters in this v

olume thus reflect the breadth of current Bach research in its attention not only to source study and analysis, but also to meanings and contexts for understanding Bach’s compositions.

中國古詩詞藝術歌曲的詮釋分析— 以岳飛〈滿江紅〉的五首創作歌曲為例

為了解決Vocal meaning的問題，作者王續 這樣論述：

中國古詩詞藝術歌曲，不僅是現代作曲家採用中國文學所創作的藝術作品，還體現了中國傳統文化本身的歷史和研究價值。漢語作為我們的第一語言，可以因此直接感受歌詞與音樂的含義與美感，同時亦能更深入地體會藝術歌曲的內涵與情感表達。如何更完整地詮釋與傳承中國古詩詞藝術歌曲是筆者選題的方向，本文以分析歌曲 〈滿江紅〉 藝術特點及演唱為研究對象，分為三個部分進行論述。第一部分探討古詩詞和歌曲的創作背景；第二部分從作品分和演唱分析去深入研討；第三部分則融入自身聲樂的學習心得作為總結。〈滿江紅〉是中國南宋時期著名抗金英雄岳飛所寫的一首詞，後經現代著名音樂學家楊蔭瀏編配和聲改編而成一首耳熟能詳的古詩詞中國藝術歌曲。

在研究 〈滿江紅〉 的過程中，筆者發現還有其他四首同名創作，分別由林聲翕、黃輔棠、周拿天和顧嘉輝所譜寫。本文將從五首曲子的共同性和特殊性來分析，用楊曲來代表楊蔭瀏所編的曲子，黃曲表示黃輔棠所作的曲子，林曲則指林聲翕所作的曲子，顧曲是顧嘉輝的所作的曲子，周曲代表周拿天所作的曲子。古詩詞藝術歌曲作為一種傳播媒介，將古詩詞用歌曲的方式呈現出來，經過再加工、再創造而形成的一種具有文學性的藝術體裁，傳達著中國文化特有的神韻。筆者亦是希望通過對五首歌曲的詮釋分析貢獻出自身的力量。