<<Lasciatemi morire...

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with dead daughter in painting inspired by the poet's
A lament or lamentation is a passionate expression of grief, often in , , or
form. The grief is most often born of , or .
Many of the oldest and most lasting poems in human
have been laments. Laments are present in both the
and the , and laments continued to be sung in
accompanied by the
in classical and
Greece. Lament elements figure in , in the
religious texts, including the Mesopotamian city laments such as the
, (which would later become the
In many oral traditions, both early and modern, the lament has been a genre usually performed by women: Batya Weinbaum made a case for the spontaneous lament of women chanters in the creation of the oral tradition that resulted in the
The material of lament, the "sound of trauma" is as much an element in the
as in the genre of , such as 's "Adonais" or 's "Thyrsis".
or Lamentations of Jeremiah figures in the Old Testament. In art the
(under many closely variant terms) is a common subject from the , showing his dead body being mourned after the .
A Lament in The Book of Lamentations or in the
(in the particular Lament/Complaint Psalms of the , may be looked at as "a cry of need in a context of crisis when Israel lacks the resources to fend for itself." Another way of looking at it is all the more basic: laments simply being "appeals for divine help in distress". These laments, too, often have a set format: an address to God, description of the suffering/anguish which one seeks relief, a petition for help and deliverance, a curse towards one's enemies, an expression of the belief of ones innocence or a confession of the lack thereof, a vow corresponding to an expected divine response, and lastly, a song of thanksgiving. Examples of a general format of this, both in the individual and communal laments, can be seen in Psalm 3 and Psalm 44 respectively.
The , if it is actually written by , is the sole surviving composition of his.
A heroine's lament is a conventional fixture of
, accompanied usually by strings alone, in . Because of their plangent cantabile melodic lines, evocatively free, non- construction and
pace, operatic laments have remained vividly memorable soprano or mezzo-soprano
even when separated from the emotional pathos of their operatic contexts. An early example is Ariadne's "Lasciatemi morire", which is the only survivor of 's lost Arianna. 's operas extended the lamento formula, in numerous exemplars, of which Ciro's "Negatemi respiri" from Ciro is notable. Other examples include
(, ), "" (, ), "Cara mio ben" (Tomasso or ). The lament continued to represent a musico-dramatic high point. In the context of , the Countess's lament, "Dove sono" comes as a surprise to the audience of 's , and in 's , Rosina's plaintive words at her apparent abandonment are followed, not by the expected lament aria, but by a vivid orchestral interlude of storm music. The heroine's lament remained a fixture in romantic opera, and the Marschallin's monologue in Act I of
can be understood as a penetrating psychological lament.
The purely instrumental lament is a common form in
music for the . "MacCrimmon's Lament" dates to the Jacobite uprising of 1745. The tune is held to have been written by Donald Ban MacCrimmon, piper to the MacLeods of Dunvegan, who supported the Hanoverians. It is said that Donald Ban, who was killed at Moy in 1746, had an intimation that he would not return.
A well-known Gaelic lullaby is "Griogal Crìdhe" ("Beloved Gregor"). It was composed in 1570 after the execution of Gregor MacGregor by the Campbells. The grief-stricken widow describes what happened as she sings to her child.
"Cumha na Cloinee" (Lament for the Children) was composed by Padruig Mor MacCrimmon in the early 1650s. It is generally held to be based on the loss of seven of MacCrimmon's eight sons to an unknown illness, possibly brought to Skye by a trading vessel. Author Bridget MacKenzie, in Piping Traditions of Argyll, suggests that it refers to the slaughter of the MacLeod's fighting Cromwell's forces at the Battle of Worcester. It may have been inspired by both.
Other Scottish laments include "Lowlands Away", "MacPherson's Rant", and "Hector the Hero".
Islamic Lament songs or Nauha Khawani is start in 61 A.H., after the incident of , where
killed by the
brutally . After the killing and disrespect of the family of
. People called Shia started to recite lament songs or Nauha . This is very famous in Middle East and South East Asia, people recite lament poetry in their own language, the famous language are Arabic, Persian, Urdu, Punjabi and Saraeki in which people express sadness or .[]
Galician lament, subgenre of the planto.
track "Prince Rupert's Lament" on 1970 album , an instrumental lament played with electric guitar as lead instrument, and the song "Lament" on 1974 album
track Lament on the 2010 album
Linda M. Austin, "The Lament and the Rhetoric of the Sublime" Nineteenth-Century Literature 53.3 (December ) traces the literary rhetoric evoking a voice crying.
Margaret Alexiou, Ritual Lament in Greek Tradition (Cambridge University Press) 1974
Alexiou 1974; Angela Bourke, "More in anger than in sorrow: Irish women's lament poetry", in Joan Newlon Radnor, ed., Feminist Messages: Coding in Women's Folk Culture (Urbana: Illinois University Press) .
Batya Weinbaum, "Lament Ritual Transformed into Literature: Positing Women's Prayer as Cornerstone in Western Classical Literature" The Journal of American Folklore 114 No. 451 (Winter ).
Walter Brueggeman, An Unsettling God, (Minneapolis: Fortress Press, 2009) 13
Michael D. Coogan, A Brief Introduction to the Old Testament, (Oxford: Oxford University Press,
Michael Coogan, A Brief Introduction to the Old Testament (Oxford: Oxford University Press,
Michael Coogan, A Brief Introduction to the Old Testament, (Oxford: Oxford University Press,
Ellen Rosand, 2007. Opera in Seventeenth-Century Venice (University of California Press), "The lament aria: variations on a theme" pp 377ff.
"Negatemi respiri" and several others are noted by Rosand f.
Called "the Marschallin's Act I lament", in Jeremy Eichler, "Lushly Lamenting the Wages of Time and a Lost Golden Age" opera review in The New York Times March 15, 2005.
Richard Church, The Lamendation of Military Campaigns. PDQ: Steve Ruling, 2000.
Margaret Alexiou, The ritual lament in Greek tradition. Cambridge: Cambridge University Press, 1974.
Walter Brueggeman, An Unsettling God. Minneapolis: Fortress Press, 2009
Michael Coogan, A Brief Introduction to the Old Testament. Oxford: Oxford University Press, 2009
, , The growth of literature (Cambridge: Cambridge University Press, 1932–40), e.g. vol. 2 p. 229.
, Rediscovering Homer (New York: Norton, 2006. ) pp. 141–143.
Gail Holst-Warhaft, Dangerous voices: women's laments and Greek literature. London: Routledge, 1992. .
Claus Westermann, Praise and Lament in the Psalms. Westminster: John Knox Press, 1981. .
from , performed in a funeral
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意大利语语音歌唱教程(附光盘第3版歌唱语音系列教程)
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基本信息商品名称:意大利语语音歌唱教程(附光盘第3版歌唱语音系列教程)开本:32开
作者:陈言放//詹士华页数:238定价:28出版时间:ISBN号:0
印刷时间:出版社:厦门大学版次:3商品类型:图书印次:3 作者简介:
陈言放,厦门大学音乐系副教授,硕士生导师,全国高师声乐委员会委员。1982年考入福建师范大学音乐系,1987年任厦门大学声乐教师。1989年考人中央音乐学院声歌系干部进修班,师从著名声乐教育家沈湘、李晋玮先生。年任厦大音乐系副主任。1992年获“全国沿海12城市歌手大赛”美声专业组银奖。曾任美国歌剧《伪君子》的主要演员及配歌工作;歌剧《阿美姑娘》的副导演,该剧获第七届文华新剧目奖、1997中国曹禺戏剧奖剧目奖。并在《人民音乐》、《中央音乐学院学报》、《黄钟》等刊物发表多篇论文。编著《意大利语语音歌唱教程》一书。
詹士华,集美大学音乐系副教授,声乐教研室主任。1982年考入福建师范大学音乐系,1986年任集美帅专声乐教师。1990年考入中央音乐学院声歌系干部进修班,师从著名声乐教育家郭淑珍先生。先后获“全国五大经济特区歌手大赛”美声专业组第一名,全国“五洲杯青年歌手大赛”荧屏奖,全国“歌王歌后大赛”优秀奖。曾任美国歌剧《伪君子》、《阿美姑娘》的主要演员,《阿美姑娘》获第七届文华新剧目奖、1997中国曹禺戏剧奖剧目奖。并在《人民音乐》等刊物发表多篇论文。编著《意大利语语音歌唱教程》一书。 目录:引言:为何要学习意大利语语音及其特点第一章
发音知识与发音器官
发音知识与发音器官图
字母、音素、音标及字母表
意大利语发音简表
元音的发音
半元音的发音
辅音的发音
双辅音的发音
辅音群的发音
不读音字母h与外来字母的发音
音节与重音
不重读的单音节词与连读
意大利语读音基本规则表
字母的大写与标点符号
简单对话第二章
常见意大利语艺术歌曲的拼读
1. Amarilli阿玛丽莉
2. Sento nel core在我心里
3. Sebben crudele虽然你冷酷无情
4. Caro mio ben我亲爱的
5. Per la gloria d'adorarvi多么幸福能赞美你
6. Ombra mai fu绿树成荫
7. Nel cor pith non mi sento我心里不再感到青春的火焰燃烧
8. Se tu M'ami假如你爱我
9. Nina尼娜
10. Maria!Mari玛丽亚!玛丽!
11. O sole mio我的太阳
12. Santa Lucia桑塔露齐亚
13. Torna a Surriento重归苏莲托
14. Core'ngrato负心人
15. Marechiare玛莱卡莱
16. La Serenata小夜曲
17. Mattinata黎明
18. Di spagna sono la bella西班牙女郎
19. Serenata rimpianto悲叹小夜曲
20. Lasciatemi morire!让我死亡!
21. Vittoria!Vittoria!胜利啊!胜利啊!
22. Intorno all'idol mio围绕着我崇拜的人儿
23. Posate!Dormite!安睡吧!安眠吧!
24. Son tutta duolo我多么痛苦
25. Le violette紫罗兰
26. O cessate di piagarmi别再使我痛苦、迷惘
27. Quel bel core这颗美妙的心
28. Se non fossero gli stenti假如没有那些痛苦
29. Pur dicesti,O bocca bella请告诉我
30. Lascia ch'io pianga让我痛哭吧
31. Cara,ti lascio订core亲爱的,我为你留下这颗心
32. O del mio dolce ardor我怀着满腔热情
33. Ideale理想佳人
34. Serenata小夜曲
35. Musica proibita被禁止的音乐
36. Fenesta che lucive明亮的窗户
37. Voce'e notte深夜歌声
38. Canta pe'me为我歌唱
39. L'addio a Nappli告别那波利
40. Dicitencello vuie请你告诉她
41. Santa Lucia Luntana遥远的桑塔露齐亚
42. Non ti scordar di me请你别忘了我
43. Solo per te,Lucia只为了你,露齐亚
44. Dovesei,Amato bene?你在哪里,心爱的人啊?
45. Ridente la calma亲切的平静
46. La Danza舞曲
47. Piacer d'amor爱情的喜悦
48. Mamma妈妈第三章
常见意大利语歌剧咏叹调字对字翻译
1. 世上没有犹丽狄茜,我怎能活——奥菲欧的咏叹调
2. 美妙的时刻将来临——苏珊娜的咏叹调
3. 你们可知道——凯鲁比诺的咏叹调
4. 到我的爱人身旁——唐奥塔维奥的咏叹调
5. 你再不要去做情郎——费加罗的咏叹调
6. 鞭打我吧!——采琳娜的咏叹调
7. 我听到美妙的歌声——罗西娜的谣唱曲
8. 偷洒一滴泪——耐莫利诺的咏叹调
9. 亲爱的名字——吉尔塔的咏叹调
10. 离开了她,我心里感到痛苦——阿尔弗莱德的咏叹调
11. 在普罗文察地方——阿芒的咏叹调
12. 纯洁的阿伊达——拉达梅斯的咏叹调
13. 父亲的哀伤——西蒙的咏叹调
14. 为艺术,为爱情——托斯卡的咏叹调
15. 星光灿烂——卡瓦拉多西的咏叹调
16. 人们叫我咪咪——咪咪的咏叹调
17. 漫步街上——米塞塔的咏叹调
18. 我亲爱的爸爸——劳莱达的咏叹调
19. 你这冰凉的小手——鲁道夫的咏叹调
20. 晴朗的一天——蝴蝶夫人的咏叹调
21. 你知道吗?好妈妈——桑图扎的咏叹调
22. 不知道我自己干了什么——凯鲁比诺的咏叹调
23. 求爱神给我安慰——伯爵夫人的谣唱曲
24. 请你到窗前来吧——唐璜小夜曲
25. 像天使一样美丽——马拉特斯塔浪漫曲
26. 四月的夜——埃内斯托小夜曲
27. 赐给我安宁——莱奥诺娜的咏叹调
28. 女人善变——公爵之歌
29. 咱俩一样——里戈莱托宣叙调
30. 每逢那节日到来——吉尔达咏叹调
31. 天空,海洋!——恩佐浪漫曲
32. 原谅,原谅——托尼奥的开场白
33. 来到你身旁——咪咪的告别
34. 主人,您听我说——柳儿咏叹调
35. 今夜不能入睡——卡拉夫王子的咏叹调
36. 多蕾塔之歌——玛格妲的咏叹调
37. 奇妙的和谐——卡伐拉多西咏叹调
38. 我从来没有见过——格里欧咏叹调第四章
常见的意大利语音乐及表情术语附录
意大利音乐学院名录
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