音乐剧《音乐之声》原版
音乐之声英文字幕
音乐之声英文字幕《音乐之声》英文字幕(The story starts in an abbey of Salzburg, Austria, in the last Golden Days of the Thirties.) 开篇:玛利亚在山冈上忘情高歌Halleluyah!Bernice: Reverend Mother...Reverend Mother: Sister Bernice.Bernice: I simply cannot find her.Reverend Mother: Marisa?Bernice: She's missing from the abbey again.Sister A: Perhaps we should have put a cowbell around her neck.Sister B: Have you tried the barn? You know how much she adores the animals. Bernice: I have looked everywhere, in all of the usual places.Reverend Mother: Sister Bernice, considering that is Maria, Isuggest you look in some placeunusual.(Later, Maria gets back and comes to see Reverend Mother.)Reverend Mother: I'm here, my child. Now sit down.Maria (short for M): Oh, Reverend Mother, I'm so sorry. I justcouldn't help myself. The gates were open and the hills were beckoning and before...Reverend Mother: I know! I have not summoned you here for apologies.M: Oh, please Mother, do let me ask for forgiveness.Reverend Mother: If it will make you feel better.M: Yes. Well you see, the sky was so blue today and everything wasso green and fragrant. I just had to be a part of it! And you know those birds kept meeting me higher and higher as though it wanted me to goright through the clouds with it.Reverend Mother: Child, suppose darkness had come and you were lost?M: Oh, Mother, I could never be lost up there. That's my mountain; I was brought up on it. It was the mountain that led me to you.Reverend Mother: Oh?M: When I was a child, I would come down the mountain and climb atree and look over into your garden. I'd see the sisters at work and I would hear them sing on their way to Vespers, which brings me to another transgression, Reverend Mother. I was singing out there today without permission.Reverend other: Maria, it is only here in the abbey that we haverules about postulant singing.M: I can't seem to stop singing wherever I am. And what's worse, Ican't seem to stop saying things. Everything and anything I think and feel.Reverend Mother: Some people would call that honesty.M: No, but it's terrible, Reverend Mother. You know how Sister Beth always makes me kiss the floor after we had a disagreement? Well latelyI've taken to kissing the floor when I see her coming just to save time.Reverend Mother: Maria, when you saw us over the abbey wall and longed to be one of us, that didn't necessarily mean that you were prepared for the way we live here, did it? M: No, Mother. But I pray and I try and I am learning. I really am.Reverend Mother: What is the most important lesson you have learned here, my child? M: To find out what is the will of God and to do it whole-heartedly.Reverend Mother: Maria, it seems to be the will of God that youleave us. M: Leave you?Reverend Mother: Only for a while, Maria.M: Oh, please, Mother, don't do that. Please don't send me away!This is where I belong. It's my home. My family. It's my life.Reverend Mother: Are you truly ready for it?M: Yes, I am.Reverend Mother: Perhaps if you go out into the world for a time, knowing what we expect of you. You will have a chance to find out that you could expect it from yourself. M: I know what you expect, Mother, and I can do it. I promise I can!Reverend Mother: Maria...M: Yes, mother. It is God's will.Reverend Mother: There is a family near Salzburg that needs a governess until needs a governess until September.M: September?!Reverend Mother: To take care of seven children.M: Seven children?!Reverend Mother: Do you like children Maria?M: Oh yes, but seven....Reverend Mother: I will tell Captain Von Trapp to expect you tomorrow. M: A captain?Reverend Mother: A retired officer of the imperial Navy. A fine man and a brave one. His wife died several years ago. Living in the dorm with the children, and I understand he has had a most difficult time managing to keep a governess there.M: Er.. Why difficult, Reverend Mother?Reverend Mother: The Lord will show you in His own good time.(Maria, with her bag and guitar in hands, walks sullenly out of the abbey.) M (singing): What will this day be like, I wonder.What will my future be, I wonder.It could be so exciting to be out in the world, to be free.My heart should be wildly rejoicing,Oh, what's the matter with me? I've always longed for adventure, to do the things I've never did. Now here I'm pacing adventure, then why am I so scared?(Oh, help.)I have confidence in confidence alone,Besides which you see, I have confidence in me.(In front of the Von Trapps' house, Maria wonders at its grandeur. She knocks at the door. A man appears.)M: Hello, here I am! I'm from the convent. I'm the new governess, Captain. Franz: And I'm your butler, Fraulein.M: Oh, well, how do you do? Hmm.Franz: Wait here, please.(While waiting, Maria enters a hall. It is such a magnificent hall, that she can't help dancing.The Captain appears.)Captain (Short for C): Why do you stare at me that way?M: Well, you don't look at all like a sea captain, sir.C: I'm afraid you don't look much like a governess. Turn around, please.M: What?C: Turn. Hat off. It's the dress. You have to put on another one before you meet the children.M: But I don't have another one. When we enter the abbey, ourworldly clothes are given to the poor.C: What about this one?M: The poor didn't want this one.C: Hmm.M: I would have made myself a new dress but there wasn't time. I can make my own clothes. C: Well, I'll see that you get some material. Today, if possible. Now, Fraulein...er.... M: Maria.C: Fraulein Maria, I don't know how much the Mother has told you?M: Not much.C: You're the twelfth in a long line of governesses, who have cometo look after my children since their mother died. I trust that you will be an improvement on the last one. She stayed only two hours.M: What's wrong with the children, sir?C: There was nothing wrong with the children, only the governesses. They were completely unable to maintain discipline. Without it, the house cannot be properly run. Please remember that, Fraulein.M: Yes, Sir.C: Every morning you will drill the children in their studies. Iwill not permit them to dreamaway their summer holidays. Each afternoon they will march about the ground, breathing deeply. Bedtime is to be strictly observed. No exceptions.M: Excuse me, sir. When do they play?C: You'll see to that they conduct themselves at all time with the utmost orderliness and decorum, I'm placing you in command.M: Yes, sir.(Captain blows his whistle. After slamming of doors, the children appear on the terrace in a line, and then walk down one by one.) C: Now, this is your new governess, Fraulein Maria. As I sound your signals, you will step forward and give your name. You, Fraulein, will listen carefully. Learn their signal so you can call them when you want them.Liesl: Liesl.Frederick: Frederick.Louisa: Louisa.Kurt: Kurt.Bargitta: Bargitta.Marta: Marta.(The youngest girl steps forward.)C: And Gretl. Now, let's see how well you listened.M: Oh, I won't need to whistle for them, Reverend Captain. I mean, I'll use their names. And such lovely names.C: Fraulein, this is a large house. The grounds are very extensive.I will not have anyone shouting. You will take this, please. Learn to use it. The children will help you. Now, when I want you, this is what you will hear.M: No, sir. I'm sorry, sir. I could never answer to a whistle. Whistles are for dogs and cats and other animals but not for children and definitely not for me. It would be too humiliating. C: Fraulein, were you this much trouble at the abbey?M: Oh, much more, sir.C: Hmm.M: Excuse me, sir, I don't know your signal.C: You may call me Captain.(Captain leaves.)M: At ease. Well now that there's just us. Would you please tell me what are your names again and how old you are?Liesl: I'm Liesl. I'm sixteen years old and I don't need a governess.M: Well, I'm glad you told me, Liesl. We'll just be good friends.Frederick: I'm Frederick. I'm fourteen. I'm impossible.M: Really? Who told you that, Frederick?Frederick: Fraulein Josephine. Four governesses ago.Louisa: I'm Bargitta.M: You didn't tell me how old you are, Louisa.Bargitta: I'm Bargitta, she's Louisa. She's thirteen years old andyou're smart. I'm ten and I think your dress is the ugliest one I ever saw.Kurt: Bargitta, you shouldn't say that.Bargitta: Why not? Don't you think it's ugly?Kurt: Of course, but Fraulein Helder's was ugliest. I'm Kurt. I'm eleven. I'm incorrigible.M: Congratulations!Kurt: What's incorrigible?M: I think it means you won't be treated like a boy.Marta: I'm Marta and I'm going to be seven on Tuesday. And I'd likea pink parasol. M: Well, pink is my favorite color, too. Yes, you're Gretl, and you're five years old? My, you're practically a lady! Now I have to tell you a secret. I've never been a governess before. Louisa: You mean you don't know anything about being a governess?M: Nothing. I'll need lots of advice.Louisa: Well, the best way to start is to be sure to tell father to mind his own business. Frederick: You must never come to dinner on time.Bargitta: Never eat your soup quietly.Kurt: And during dessert always blow your nose.Gretl: Don't believe a word they say, Fraulein Maria.M: Why not?Gretl: Because I like you.Frau Schmidt: All right now, children! Outside for your walk.Father's orders. Now, hurry up! Hurry up! Quick, Quick… Fraulein Maria, I'm Frau Schmidt, the housekeeper.M: How do you do!Frau Schmidt: How do you do! I'll show you to your room. Follow me.(On the way to her room, Maria feels something strange in her pocket. It is a toad. She cries out and throws it away. The children watch this and leave in laughter. Later the dinner is served, Maria is late.) M: Good evening. Good evening, children.Children: Good evening, Frauen Maria.(Without noticing a pinecone on her chair, Maria sits on it, jumpsup with pain and immediately.)M: Ha Ha.C: Enchanting little tune. Something you learned at the abbey?M: No, erm... it's eh... rheumatism. (Sits down again) Excuse me, Captain, haven't we forgotten to thank the Lord? For what we are aboutto receive, may the Lord make us truly thankful. Amen.C: Amen.M: I'd like to thank each and every one of you for the precious gift you left in my pocket earlier today.C: Erm... What gift?M: It's meant to be a secret Captain, between the children and me.C: Aha. Then I suggest that you keep it and let us eat.M: Knowing how nervous I must have been. A stranger in the new household. Knowing how important it was for me to feel accepted. It was so kind and thoughtful of you to make my first moments here so warm and happy and pleasant.(Marta crying.)C: What Is the matter, Marta?Marta: Nothing.(The children burst into tears one by one) C: Frauen, is it to be at every meal or merely a dinnertime that you intend to lead us all to th is rare and wonderful new world of indigestion? M: They're all right, Captain. They're just happy. (Outside the house, Rolfe knocks at the door.) Franz: Ah, Rolfe. Good evening.Rolfe: Good evening, Franz. I trust everything is under control?Franz: Yes, yes.Rolfe: Good.Franz: Are there any developments?Rolfe: Perhaps. Is the captain at home? Franz: He's at dinner.Rolfe: With the family?Franz: Yes.Rolfe: Please give him this telegram at once. Franz: Certainly.(Inside, Franz gives the telegram to the captain. He reads it.) Liesl: Franz, who delivered it?Franz: That young lad Rolfe, of course. Liesl: Father, may I be excused?C: Hmm. Children, in the morning I shall be going to Vienna.Children: Not again, father!Gretl: How long will you be gone this time, papa? C: I'm not sure, Gretl. I'm not sure.Louisa: To visit the Baroness Schneider again? Frederick: Mind your own business.C: As a matter of fact, yes, Louisa.Marta: Why can't we ever get to see the Baroness? Louisa: Why would she want to see you?C: It just so happens that you are going to see the Baroness. I'm bringing her back with me to visit us all.Children: Good!C: And uncle Max.Children: Uncle Max!!(Liesl goes out to the yard)Liesl: Rolfe! Oh, Rolfe!Rolfe: No, Liesl. We mustn't.Liesl: Why not, silly?Rolfe: I don't know. It's just...Liesl: Isn't this why you're here waiting for me? Rolfe: Yes, of course. I've missed you, Liesl. Liesl: You have? How much?Rolfe: So much that I even thought of sending you a telegram, justso that I'd be able to deliver it here.Liesl: Oh, that's a lovely thought. Why don't you? Right now.Rolfe: But I'm here.Liesl: Please Rolfe. Send me a telegram. I'll start it for you. Dear Liesl. Rolfe: Dear Liesl, I'd like to be able to tell you how I feel about you. Stop. Unfortunately this wire is already too expensive. Sincerely, Rolfe.Liesl: Sincerely?Rolfe: Cordially.Liesl: Cordially?Rolfe: Affectionately.Liesl: Hmmm...Rolfe: Will there be any reply?Liesl: Dear Rolfe, Stop. Don't stop. Your Liesl. If only we didn't always have to wait for someone to send father a telegram. How do I know when I'll see you again?Rolfe: Well, let's see. I could come here by mistake. With atelegram for Colonel Schneider. He's here from Berlin staying with the... No one is supposed to know he's here. Don't tell your father, now.Liesl: Why not?Rolfe: Well, your father is so... so Austrian.Liesl: We're all Austrian.Rolfe: Well, some people think we ought to be German. And they're very mad at those who don't think so. They're getting ready to.... Well, let's hope your father doesn't get into trouble. Liesl: Don't worry about father. He's a big naval hero. He was even decorated by the Emperor.Rolfe: I know. I don't worry about him. But I do worry about his daughter. Liesl: Me? Why?Rolfe: Well, you're so...Liesl: What?Rolfe: Well, you're such a baby!Liesl: I'm sixteen, what's such a baby about that?Rolfe (singing): You wait, little girl, on an empty stage, for fate to turn the light on. Your life. Little girl, is an empty page, That men will want to write on.Liesl (singing): To write on?Rolfe (singing): You are sixteen, going on seventeen.Baby, it's time to think,Better beware, be canny and careful.Baby, you're on the brink.You are sixteen, going on seventeen.Fellows will fall in line.Eager young lads and Ruez and Kaz will offer you food and wine.Totally unprepared are you, to face a world of men.Timid and shy and scared are you,Things beyond your kin.You need someone older and wiser,Telling you what to do.I am seventeen, going on eighteen.I'll take care of you!(It begins to rain, Liesl and Rolfe run into a pavilion for shelter.) Liesl (singing): I am sixteen, going on seventeen.I know that I'm naive.Fellows I meet may tell me I'm sweet,And willingly I believe,I am sixteen, going on seventeen.Innocent as a rose.Bachelor of dandy's, drinkers of brandy's.What do I know of those?Totally unprepared am I,To face a world of men.Timid and shy and scared am I,Of things beyond my kin.I need someone older and wiser,Telling me what to do.You are seventeen, going on eighteen.I'll depend on you.M: Come in. Frau Schmidt.Frau Schmidt (showing the material): For your new dresses, Fraulein Maria. The Captain had these sent out from town.M: Oh, how lovely. I'm sure these will make the prettiest clothesI've ever had. Tell me, do you think the Captain would get me some more material if I asked him? Frau Schmidt: How many dresses does a governess need?M: Not for me, for the children. I want to make them some plainclothes. Frau Schmidt: The Von Trap children don't play, they march. M: Surely you don't approve of that?Frau Schmidt: Ever since the Captain lost his poor wife he runs this house as if he were on some of his ships again. Whistles, orders. No more music, no more laughing. Nothing that reminds him of her. Even the children.M: It's so wrong.Frau Schmidt: Ah, well. How do you like your room? There'll be new drapes at the windows.M: New drapes? But these are fine.Frau Schmidt: Nevertheless new ones have been ordered.M: Oh but I really don't need them.Frau Schmidt: Good night, now.M: Frau Schmidt, do you think if I asked the Captain tomorrow about the material... Frau Schmidt: He's leaving for Vienna in the morning.M: Oh, yes, of course. Well, how long will he be gone?Frau Schmidt: It all depends. The last time he visited the Baroness he stayed for a month. I shouldn't be saying this, not to you, I mean I don't know you that well. But if you ask me, the Captain is thinking very seriously of marrying the woman before the summer is over. M:That'd be wonderful. The children will have a mother again.Frau Schmidt: Yes. Well, good night.M: Good night.(Maria is praying.)M: Dear Father, now I know why you sent me here. To help these children prepare themselves for a new mother. And I pray that thisfamily will become a happy family in my sight. God bless the Captain. God bless Liesl and Frederick. God bless Louisa, Bargitta, Marta and little Gretl. And... oh I forgot the other boy, what's his name. Well, God bless what's his name? God bless the Reverend Mother and sister Margarita and everybody at Mamburg Abbey. Now, dear God. About Liesl. Help her to know that I'm her friend. And help her to tell me what she's been up to.(Liesl climbs in from the window)Liesl: Are you going to tell on me?M: Shhh... Help me to be understanding so that I may guide her footsteps. In the name of the Father, the Son and the Holy Ghost, Amen.Liesl: I was out taking a walk and somebody locked the doors earlier than usual and I didn't want to wake everybody up so when I saw your window open... You're not going to tell father, are you?M: Hmm. How in the world did you climb up here?Liesl: How we always got up to this room to play tricks on the governess. Louisa can make it with a whole jar of spiders in her hand!M: Spiders?! Oh, Liesl, were you out walking all by yourself? You know, if we would wash out that dress tonight nobody would notice it tomorrow. You could put this on. Take your dress in there, put it to soak in the bathtub. And come back here and sit on the bed. We'll have a talk.Liesl: I told you today I didn't need a governess. Well, maybe I do.(Outside are thunders and lightening. Gretl runs in.)M: Gretl, are you scared? You're not frightened by the storm, are you? You just stay right here with me. Where are the others?Gretl: They're asleep. They're not scared.Other girls also appear at the door)M: Oh, no? Look. All right, everybody, up here on the bed. Children: Really?M: Well, just this once, come on! Now all we have to do is wait for the boys.Liesl: You won't see them, boys are brave.(Frederick and Kurt turn up too.)M: You boys weren't scared too, were you?Frederick: Oh no. We just wanted to be sure that you weren't. M:That was very thoughtful of you, Frederick. Frederick: It wasn't my idea. It was Kurt's.M: Kurt. That's the one I left out. God bless Kurt. Gretl: Why doesit do that?M: Well, the lightning says something to the thunder and the thunder answers back.Gretl: The lightning must be nasty.M: Not really.Gretl: Why does the thunder get so angry? It makes me want to cry. M: Well, when anything bothers me and I'm feeling unhappy, I just try and think of nice things.Children: What kind of things?M: Uh, well, let me see. Nice things. Daffodils. Green meadows.Skies full of stars. Raindropson roses. And whiskers on kittens.(Singing) Bright copper kettles and warm woolen mittens, Brown paper packages tied up with strings,These are a few of my favorite things.Cream colored ponies and crisp apple strudels, Doorbells and sleigh bells schnitzel with noodles, Wild geese that fly with the moon on their wings, These are a few of my favorite things.Girls in white dresses with blue satin sashes, Snowflakes that stay on my nose and eyelashes.Silver white winters that melt into springs,These are a few of my favorite things.When the dog bites,When the bee stings, when I'm feeling sad.I simply remember my favorite things,And then I don't feel so bad.Louisa: Does it really work?M: Of course it does! You try it. What things do you like?Marta: ……Pussy Wallo p!Gretl: Christmas!Kurt: Bunny rabbits!Frederick: No school!Louisa: Pillow fight!Liesl: Telegram!Bargitta: Birthday present!Kurt: Any present!Marta: Achoo!!M: Gesundheit! See what fun it is!(Singing) Raindrops on roses and whiskers on kittens,bright copper kettles and warm woolen mittens.Brown paper packages tied up with strings.These are a few of my favorite things.Cream colored ponies and crisp apple strudels,Doorbells and sleigh bells schnitzel with noodles,Wild geese that fly with the moon on their wings,These are a few of my favorite things.(Oh, together!)Girls in white dresses with blue satin sashes,Snowflakes that stay on my nose and eyelashes.Silver white winters that melt into springs,These are a few of my favorite things.When the dog bites....(While Maria and the children are enjoying themselves, the Captain comes in.) M: Well... hello.C: Fraulein, did I not tell you that bedtime is to be strictly observed in this house? M: Well, the children were upset by the storms so I thought that if I... You did sir. C: Do you or do you not have difficulty remembering such simple instructions? M: Only during thunderstorms, sir.C: Liesl?Liesl: Yes, father?C: I don't recall seeing you anywhere after dinner.Liesl: Oh really? Well, as a matter of fact...C: Yes?Liesl: Well, I was...M: What she would like to say Captain is that er... she and I had been better acquainted tonight. But it's much too late now to go into all that. Come along children, you heard your father, go back to bed immediately.C: Fraulein, you have managed to remember that I am leaving in the morning. Is it also possible that you remember that the first rule in this house is discipline? Now, I trust that before I return you will have acquired some.M: Captain. Er... I wonder if before you go I could talk to you about some clothes for the children.C: Fraulein Maria...M: But if I could just have some material...C: There are obviously many things not the least of which is repetitious. M: But the children!C: Yes, and I'm their father. Goodnight.(Maria makes the children's play clothes out of the drapes and takes the children out to enjoy the out-door activities.)Louisa: Fraulein Maria, can we do this every day?M: Don't you think you'd soon get tired of it, Louisa? Louisa: I suppose so. Every other day?Kurt: I haven't had so much fun since the day we put glue on Fraulein Josephine's toothbrush.M: I can't understand how children as nice as you manage to playsuch awful tricks on people.Bargitta: Oh, it's easy.M: But why do it?Liesl: How else could we get father's attention?Bargitta: Yes.M: Oh, I see. Well, we'll have to think about that one. All right everybody, over here.Liesl: What are we going to do?M: Let's think of something to sing for the Baroness when she comes. Kurt: Father doesn't like us to sing.M: Well, perhaps we can change his mind. Now, what songs do you know? Frederick: We don't know any songs.M: Not any?Marta: We don't even know how to sing.Bargitta: No.M: Well, let's not lose any time. You must learn.Liesl: But how?M: (singing) Let's start at the very beginning, a very good place to start. When you read you begin with?Gretl: ABC.M: When you sing you begin with Do Re Mi.Children: Do Re Mi.M: Do Re Mi, the first three notes just happen to be: Do Re Mi. Children: Do Re Mi.M: Do Re Mi Fa So La Ti. Let's see if I can make it easier. Doe, a deer, a female deer.Ray, a drop of golden sun.Me, a name I call myself.Far, a long, long way to run.Sew, a needle pulling thread.La, a note to follow Sew.Tea, a drink with jam and bread.That will bring us back to Doe, oh, oh, oh.(repeat.)Do Re Mi Fa So La Ti Do! So, Do!M: Now children, Do Re Mi Fa So, and so on are only the tools we use to build a song. Once you have these notes in your heads you can sing a million different tunes by mixing them up. Like this: So Do La Fa Mi Do Re. You do that?Children: So Do La Fa Mi Do Re.M: So Do La Ti Do Re Do.Children: So Do La Ti Do Re Do.M: Now, put it all together.Children: So Do La Fa Mi Do Re, So Do La Ti Do Re Do.M: Good!Frederick: But it doesn't mean anything.M: So we put in words. One word for every note. Like this: (singing) When you know the notes to sing, you can sing almost anything. Together!Children (singing): When you know the notes to sing, you can sing almost anything. Doe, a deer, a female deer,Ray, a drop of golden sun,Me a name I call myself,Far, a long, long way to run,Sew, a needle pulling thread,La, A note to follow Sew......(Captain returns with the Baroness and uncle Max. On their way home, Captain sees his children climbing the trees.)Baroness: This really is exciting for me, George, being here with you. C: Trees, lakes, mountains, when you've seen one you've seen them all. Baroness: That is not what I mean and you know it.C: Ah, you mean me. I'm exciting.Baroness: Is that so impossible?C: No, just... er... highly improbable.Baroness: There you go, running yourself down again.C: Well, I'm a dangerous driver.Baroness: You know, you're much less of a riddle when I see you here, George. C: In my natural habitat?Baroness: Yes, exactly.C: Are you trying to say that I'm more at home here, among the birds and the flowers and the wind that moves through the trees like arestless sea.Baroness: How poetic!C: Yes, it was rather, wasn't it? More at home here than in Vienna.In all your glittering salons. Gossiping gaily with balls I detest, soaking myself in Champagne. Stumbling about the Waltzes by Strauss. I can't even remember. Is that what you're trying to say? Baroness: Moreor less, yes.C: Now, whatever gave you that idea?Baroness: How I do like it here, George. So lovely and peaceful. How can you leave it as often as you do?C: Oh, pretending to be madly active, I suppose. Activity suggests a life filled with purpose. Baroness: Could it be running away from memories?C: Or perhaps just searching for a reason to stay.Baroness: Oh, I hope that's why you've been coming to Vienna so often. Or were there other distractions there?C: Oh, I'd hardly call you a mere distraction, darling.Baroness: Well, what would you call me, George?C: Lovely, charming, witty, graceful. The perfect hostess. And.. er.. you're going to hate me for this: in a way, my savior.Baroness: Oh, how unromantic!。
音乐剧《音乐之声》原版课件.
音乐剧《音乐之声》原版课件.一、教学内容本节课我们将学习音乐剧《音乐之声》原版课件，主要涉及教材的第四章“音乐剧鉴赏”以及第五章“经典作品分析”。
详细内容包括音乐剧的起源与发展、音乐剧《音乐之声》的剧情梗概、角色分析、音乐特点以及舞台表现等。
二、教学目标1. 了解音乐剧的起源与发展，掌握音乐剧的基本特点；2. 熟悉音乐剧《音乐之声》的剧情、角色及音乐风格，提升音乐鉴赏能力；3. 培养学生的团队协作能力和舞台表现力。
三、教学难点与重点教学难点：音乐剧《音乐之声》的音乐特点和舞台表现；教学重点：音乐剧的基本概念、剧情梗概以及角色分析。
四、教具与学具准备1. 教具：多媒体设备、音响设备、黑板、粉笔；五、教学过程1. 导入：通过播放音乐剧《音乐之声》的经典片段，激发学生的学习兴趣，引导学生关注音乐剧的艺术魅力；2. 讲解：介绍音乐剧的起源与发展，阐述音乐剧的基本特点，分析音乐剧《音乐之声》的剧情、角色及音乐风格；4. 例题讲解：以音乐剧《音乐之声》中的经典歌曲为例，分析歌曲的旋律、节奏、和声等特点；5. 随堂练习：学唱音乐剧《音乐之声》中的经典歌曲，并进行舞台表现练习；六、板书设计1. 音乐剧的起源与发展；2. 音乐剧《音乐之声》剧情梗概；3. 音乐剧《音乐之声》角色分析；4. 音乐剧《音乐之声》音乐特点；5. 舞台表现练习。
七、作业设计1. 作业题目：分析音乐剧《音乐之声》中你最喜欢的角色，并说明原因；2. 答案：学生需结合剧情、角色特点、音乐风格等方面进行论述。
八、课后反思及拓展延伸1. 反思：本节课的教学效果，学生的参与程度，以及对音乐剧的认识和鉴赏能力；2. 拓展延伸：鼓励学生课后观看更多音乐剧作品，提升音乐鉴赏能力，了解不同国家和地区的音乐剧风格，培养跨文化素养。
重点和难点解析1. 教学内容的深入理解；2. 教学目标的具体实现；3. 教学难点与重点的突破；4. 教学过程的实践环节；5. 作业设计的深度与广度。
音乐剧《音乐之声》原版.ppt
音乐剧在全世界各地都有上演，但演出最频密 的地方是美国纽约市的百老汇和英国的伦敦西 区。
音乐剧可以分为剧场版和电影版；
剧场版擅长于场面调度和较为抽象的表达形式 ，利用观众的想像去幻想故事发生的环境；
而电影版则擅长于实景的拍摄和镜头剪接的运 用。
在上校离家去维也 纳期间，Maria 用窗帘布给孩子们 做了游戏服，带他 们去野餐、郊游， 教他们唱歌、跳舞 ，给这个呆板、冰 冷的家庭带去了歌 声和笑声。
当上校带着准备与他结婚的男爵夫人回来时，看到这个 家庭又重新充满了欢乐温馨的气氛，而他的“水兵们” 也已被训练成了一支有素养的家庭合唱队。这激起了上 校对生活的热爱。
简介：在雷雨交加的夜晚，自然流畅的《My Favorite Things》驱除了孩子们的恐惧， Maria迅速拉近了和孩子们的关系，尽管他们喜 欢恶作剧，而且各自有着不同程度的缺点，但心 灵如音乐般美丽的Maria却用爱接纳、包容、转
化了一切，推动了故事情节的进一步发展。
简介：上校离家去维也纳期间，Maria把她 对于生活的热爱以音乐的形式传递给了可爱 的孩子们，在出游时以钢琴作为主旋律体现 了孩子们的愉悦心情，所教唱的欢快大方的 《Do-Re-Mi》，至今仍是许多音乐初学者 的必修旋律；此曲被选入人教版七年级下册 音乐教材。
2、这首歌对整部影片有什么重要意义？
1、歌曲表达了对家乡、对祖国无限深情和眷恋。 2、看似最简单、最不起眼的一首小小民歌，这时在影
片所用的全部歌曲中凸显了出来，促使观众开始正 视故事所属的阴云密布的时代。 它使一部洋溢着欢声笑语的喜剧片在此刻展现出了 严肃、深刻、崇高的人道主义内涵。 学唱《雪绒花》
在男爵夫人的介 绍舞会中，一支 奥地利的民间舞 蹈（Laendler ）使彼此了解到 对方的心意，关 系迅速升温。
音乐之声音乐剧赏析
音乐剧--音乐之声赏析一直以来就很喜欢音乐之声这部音乐剧;其中的欢乐之声;其中的和谐之乐深深打动着我..再次看这部剧;仍然感怀于其中的人与自然的和谐;感怀于其中的童真;感怀于其中不与世俗同流的干净与纯洁..一次次被片中的经典音乐而打动;雪绒花、孤独的牧羊人;哆唻咪不仅仅是一些唤起我们童真的歌曲;更深层的是是隐藏在音乐背后的那博大而深沉的爱..音乐之声是一部讲述奥地利音乐文化的音乐片..虽说影片主题是音乐;但是伴随音乐而展示出的一系列奥地利民族文化是丰富多彩的..电影从开始已经显示出可比拟的气势和魄力：镜头一开始从高空航拍的阿尔卑斯山大全景;逐步转向在山顶上载歌载舞的玛丽亚;镜头的层层深入给观众带来了强烈的视觉和听觉上的冲击;使人印象深刻、精神振奋;感觉大自然的宏伟壮丽与美妙的乐韵相互交融、合二为一..先声夺人的开篇可以说是画龙点睛;为后面的成功演绎奠定了坚实的基础..其实我觉得这一幕也为后来上校对祖国大好山河的热爱同纳粹作斗争做了铺垫; 更能显示他的爱国主义精神..音乐也是这部片子成功的重要元素之一;贯穿了整部影片;我想导演之所以用音乐之声来命名;可能是因为故事发生在音乐之都维也纳吧..影片中或高昂、或低沉的节奏;或吟咏、或叙述的歌声;还有那幽默风趣的表演不仅吸引住了人们的眼球同时也吸引住了人们的耳朵..音乐之声的背景是德国纳粹企图吞并奥地利;并且要求奥地利官员到德国赴任..冯.崔普上校正是这些奥地利军官之一..作为一个热爱家乡热爱祖国的军官;上校十分的痛恨纳粹;不肯赴任..然而种种原因;上校不得不赴任;当他唱起雪绒花时;上校声音哽咽..对家乡的眷恋以及对国家消失的无奈全都涌上心头..如果说什么东西是文化的基本;什么是每个人都不能抛弃并可为之付出生命的东西;那就是对家乡的爱..家是国之根本;国就是文化的核心..歌声中回荡着的浓浓的爱国情怀;渗入到我们的每一滴血液;渗入到我们的灵魂..音乐之声用歌曲向我们传递了这样的讯息..爱是一切的根本;家是爱的承载..有爱才有家;爱自己的家;永远不让它消失..音乐之声是一部音乐片;与此同时它也是一部宣扬爱;自由与生命的主题电影..从这部影片之中;我所能感受到的仅仅是冰山上的一角;但是它所展示的奥地利音乐文化;让人们记住了在世界某处;一个民族的精髓..玛利亚;女主人公的名字取义基督教圣母之名;而女主人公正如她的名字一样;纯净、自然;充满爱与生气..教会文化发源于欧洲;也是欧洲文化的一部分..玛利亚就生活在教会之中..她就像是教会中自由的鸟;她不屈服于专制也不畏惧邪恶..她拥有自由与爱;源自于自然;源自于心灵;是人类最久远、也是最永恒的追求;这使得教会的其他修女对于她保持有不同的看法..“你要如何处理像玛利亚这样的问题人物你要如何摘下浮云然后钉牢你要如何用言语形容她捣蛋鬼鬼精灵小丑” 修女们对于玛利亚的看法虽然有好有坏;但是相同的是;大家都认为“她不适合修道院..”但是院长嬷嬷却只是说:“她是一个女孩..”对话采用女声群体合声;此起彼伏的曲调配合整齐的音乐;时高时低;时缓时急;却又不失整体的和谐..这就是音乐的精髓;编导用对话凸显这种和声的魅力; 让人从中感受到了音乐之国的文化内蕴..在之后;玛利亚到了冯.崔普上校家做家庭教师..到此;整个故事才算整个的开始..玛利亚在冯.崔普上校家做家教的这一段时间里;玛利亚与上校的孩子们逐渐成为亦师亦友的关系..其中也出现了不少经典的情景、脍炙人口的歌曲..令我印象极深的有如下几幕：第一幕;大女儿莉莎与她的男朋友在雨中相会时男女双人和声在夜晚的映衬下显得活泼可爱;富有生趣..俩人在雷雨中跳起了双人舞在这美妙的舞蹈之下;雷声融入了乐曲;闪电融入了舞步;电闪雷鸣在此时竟然显得如此的浪漫唯美..将自然的波澜壮阔结合到浪漫的爱情与唯美的舞姿中;完美的令人叹为观止..第二幕;玛利亚带着孩子们穿着窗帘布制作的游戏服在萨尔斯堡尽情的玩耍;在辽阔的原野上;玛利亚教会了孩子们人生中的第一首歌曲..在交错却又整齐的情境中;玛利亚带着孩子们开始了音乐之旅..在这里;我最喜欢的莫过于玛利亚和孩子们骑着自行车的情景..玛利亚捎着葛瑞特;七辆自行车呈三排行驶;随着歌曲的调值变化;单车也跟着变着整齐的花样;在错落之中交叠着精心的编布;在欢乐的音乐中也让视觉充分的享受了一把..当玛利亚和孩子们坐着马车;七个孩子变成了七个音符;玛利亚用马鞭指着谁谁就唱自己的音符..孩子们成了最美妙的乐器;让人看着又欢乐又羡慕..音乐来自于生活;生活来自于人;人来自与自然..用人声代替乐器;再将人溶于自然;这种人与自然;人与艺术的人文文化;不正是奥地利音乐文化的精髓吗整部电影都是用音乐编织而成的;如甘甜的水;滑过人们的心灵..不受繁文缛节约束的美丽修女玛丽亚;一群活泼可爱的孩子;还有拥有满腔爱国热情;内心善良的上校;就生活在音乐的世界里;自由歌唱着内心的感情..玛丽亚不喜欢处处束缚着自己的修道院;她热爱自由;喜欢奔跑于广阔的草地上;喜欢像小鸟一样地唱歌；可爱的孩子们;在玛丽亚创造的纯真的音乐世界中;找到了失去已久的自由..他们无拘无束地做游戏、野餐、郊游、爬树和划船;在大自然中纵情歌唱..而对自己和对别人都有着严格要求;又将情感深深藏在内心的上校;听到音乐后被震动了..音乐改变了上校;从此他变得更有人情味了..对自由的追求与向往;更多的是表现在一家人不畏纳粹的嚣张气焰;宁可流亡而不肯做亡国奴的爱国情愫..面对纳粹的威逼利诱;一家人在上校的带领下跨越了重重高山;终于远离了战争的阴影..一曲音乐之声;是一首自由战胜专制;爱征服邪恶的颂歌..自由是人们永恒的追求..当专制与邪恶千方百计想让自由与爱毁灭时;对自由的渴望;使冯·特拉普上校一家人不惧任何压迫与威胁..甚至当生命大厦随时可能颠覆的时刻;一家人依然矢志不渝地唱出心灵的歌谣;唱出对未来生活的畅想..此时;那悠扬的旋律;清新的歌词;技术娴熟的合唱已成为一家人对梦想的深沉呼唤..当深爱的国土被纳粹野蛮地践踏;当原本宁静的生活被彻底打乱;冯·特拉普上校带领一家人无畏进行抗争;反映了在那个战争年代人民不屈的反抗与满腔爱国的热情..他们用歌声呐喊;唱出了内心的音乐之声..音乐之声爱情部分的主线;是玛利亚与冯.崔普上校的爱情..玛利亚与上校的爱;表达了人需要自由与解放;用爱作为自己的生命;并且勇敢的去追寻它..这种自由与爱也正是本片想要传递给我们的思想..音乐之声用音乐唱出自然之声;用音乐诠释爱情;用音乐谱写青春与纯真;用音乐表达思乡;唱出一曲不绝于耳的音乐之声;唱出了一曲天人合一的美好乐章..。
音乐之声课文解析
音乐之声课文解析课文解析1.对文章的理性解读音乐剧《音乐之声》系按照玛丽亚·特拉普自传体小说《托普家族的歌手》改编，1959年在美国纽约百老汇首演，在1960年该剧一举荣获第十四届托尼奖最佳音乐剧、女主角、女配角等五项大奖，这是音乐剧大师理查德·罗杰斯（曲）和奥斯卡·汉姆斯特恩二世（词）的最后一次合作创作的作品，被以为是两位大师最杰出的传世之佳作。
1979年，该剧还荣获劳伦斯·米格纳奖。
后来，厄内斯特·勒曼依据小说和歌剧改编成电影剧本并摄制完成。
本课就是改编成的电影剧本的一个片段。
30年代末，热情活泼的修女玛丽亚到奥地利退役军官特拉普上校家给7个孩子当家庭教师。
上校丧妻后一直用军纪管束孩子。
玛丽亚顺应儿童心理的教育方式深得孩子们好感。
她教他们唱歌跳舞，家中充满欢乐。
上校也被玛丽亚征服并向她求婚。
蜜月归来，希特勒兼并了奥地利，上校拒绝加入纳粹海军。
民谣节上全家演出了出色节目后机智地躲过纳粹追捕，翻越群山奔向自由。
在这样的一个故事里，美丽修女玛丽亚不受繁文缛节约束，带着一群活泼可爱的孩子生活在美丽的阿尔卑斯山脚下，她的形象感动了世界各地人们的心。
满身洋溢着的青春活力和无拘无束的生活力息成为这个人物鲜明的个性。
课文节选的是剧本的开头部份，写少女玛丽亚当了见习修女后仍不改她酷爱歌唱、无拘无束的快乐本性，在修道院做日常作业、例行庄重的宗教礼仪时，跑到野外放声歌唱、忘情游玩，后来猛然想起此时应做日常作业，于是慌忙赶回修道院。
而在同时，修道院的嬷嬷们正在处处寻觅玛丽亚，院长就玛丽亚当修女的资格问题征询意见，众嬷嬷议论纷纷，她们都十分喜爱玛丽亚，但以为她不适合当修女；当玛丽亚回到了修道院时，众嬷嬷结束了对玛丽亚的议论。
课文从运用人物的语言、动作、表情等角度对玛丽亚进行了生动的描画，同时借助环境描述表现出两种截然不同的生活力氛，借以衬托浮现出主人公的精神个性，同时将正面描述与侧面描述相结合，借助众口纷纭的评说折射出了主人公的形象。
百老汇音乐剧《音乐之声》的传播过程初探
4鞠 虹：百老汇音乐剧《音乐之声》的传播过程初探百老汇音乐剧《音乐之声》的传播过程初探鞠 虹（南京信息工程大学文学院，江苏 南京 210044）作者简介：鞠 虹（1981-），女，汉族，南京信息工程大学文学院讲师，东南大学艺术学院博士，研究方向为艺术传播。
【摘 要】音乐剧是风靡世界的艺术形式之一，而百老汇音乐剧《音乐之声》自上演之初就深受好评，更是随着时间的流逝历久弥新，得到了世界范围内观众的喜爱和认可。
本文从《音乐之声》的传播过程出发，希望能够找寻音乐剧的传播规律，从而为我国音乐剧事业的发展提供借鉴。
【关键词】音乐剧；《音乐之声》；传播过程中图分类号：J802.3 文献标志码：A 文章编号：1007-0125(2019)03-0004-03随着《猫》《歌剧魅影》《狮子王》等著名音乐剧目在中国的上演，中国观众也开始逐渐了解和欣赏这一风靡世界的艺术形式。
音乐剧的发展已有百年历史，其顽强的生命力源于兼容并蓄、吐故纳新。
它在发展过程中融合了欧洲喜歌剧、轻歌剧、歌舞杂剧、滑稽表演等舞台艺术形式，并能够跟随时代的发展，不断融入民歌、情歌、摇滚乐、乡村音乐、迪斯科舞曲、爵士乐等多种音乐风格。
在舞台演出时，音乐剧亦能借用高科技手段创造出豪华炫目的舞台布景和震撼的音响效果，给观众带来视听盛宴。
相对于歌剧而言，音乐剧更具有亲和力；相对于通俗艺术而言，音乐剧又更为雅致。
这种介于通俗和高雅之间的特性成为音乐剧在世界范围内传播的重要原因之一。
《音乐之声》是20世纪50年代百老汇音乐剧的“黄金组合”理查德•罗杰斯（Richard Rodgers）和小奥斯卡•哈默斯坦（Oscar HammersteinII）合作编创的。
该剧于1959年11月16日在百老汇首演，一经上演即获得巨大成功，成为20世纪50年代公演时间第二长的音乐剧，并于1960年获得第14届托尼奖最佳音乐剧、最佳女主角、最佳女配角等6项大奖、1979年劳伦斯•米格纳奖以及1998年托尼奖最佳复排音乐剧奖。
2024年音乐剧《音乐之声》原版课件.
2024年音乐剧《音乐之声》原版课件.一、教学内容本节课内容选自2024年音乐剧《音乐之声》原版教材，主要涉及第三章“音乐剧的基本元素”和第四章“《音乐之声》经典片段分析”。
详细内容包括音乐剧的历史背景、基本表演技巧、音乐风格、舞蹈编排以及《音乐之声》中的经典歌曲和场景。
二、教学目标1. 了解音乐剧的基本元素，如歌曲、舞蹈、对白、布景等，并能分析其在《音乐之声》中的运用。
2. 学会欣赏音乐剧，提高审美能力和艺术素养。
3. 通过分析《音乐之声》经典片段，培养学生的表演能力和团队协作精神。
三、教学难点与重点教学难点：音乐剧表演技巧的掌握和运用，以及对经典片段的分析。
教学重点：音乐剧基本元素的了解，以及《音乐之声》中的经典歌曲和场景。
四、教具与学具准备教具：多媒体设备、音响、投影仪、黑板。
学具：笔记本、笔、音乐剧剧本。
五、教学过程1. 导入（5分钟）利用多媒体播放《音乐之声》经典片段，引导学生关注音乐剧的基本元素。
2. 理论讲解（10分钟）介绍音乐剧的基本元素，如歌曲、舞蹈、对白、布景等，并结合《音乐之声》进行分析。
3. 实践环节（10分钟）分组讨论，每组挑选一个经典片段进行角色扮演，练习表演技巧。
4. 例题讲解（15分钟）分析《音乐之声》中的经典歌曲《雪绒花》，讲解歌曲创作背景、音乐风格和表演技巧。
5. 随堂练习（10分钟）学生自由组合，选择一首歌曲进行演唱，教师进行点评和指导。
六、板书设计1. 音乐剧基本元素：歌曲、舞蹈、对白、布景2. 《音乐之声》经典片段分析1）角色扮演2）歌曲演唱3）舞蹈表演七、作业设计1. 作业题目：观看《音乐之声》全剧，选择一个你最喜欢的片段，分析其音乐、舞蹈、表演等方面的特点。
2. 答案：学生需提交一篇不少于500字的观后感，包括对所选片段的分析和感悟。
八、课后反思及拓展延伸1. 教学反思：在教学过程中，要注意关注学生的个体差异，充分调动学生的积极性，提高课堂参与度。
2. 拓展延伸：鼓励学生参加学校或社区的音乐剧社团，亲身体验音乐剧的魅力，提高自身艺术素养。
《音乐之声(Do-Re-Mi)》优秀教案—五年级下册艺术《儿童剧场》
《音乐之声（Do-Re-Mi）》优秀教案—五年级下册艺术《儿童剧场》教学内容学唱英文歌曲《Do-Re-Mi》课题一第一课时教学目标1、欣赏音乐剧《音乐之声》片断，感受其角色形象和表示的内涵，了解音乐剧以鲜明的音乐、独特的舞蹈、奇美的服装、生动的场景来塑造人物形象和表达情绪情感的艺术特点。
2、学习演唱插曲《Do-Re-Mi》，体验歌曲愉悦的情绪，并尝试用轻快、富于弹性的声音结合分角色创编扮演，表示歌曲的形象内容，提高同学的音乐表示能力。
3、结合影视特点，赏析其音乐美、声效美、画面美，培养同学欣赏音乐剧的兴趣，扩大同学的音乐视野。
教学重点学唱歌曲，结合简单分析歌曲的旋律，引导同学感受、表示音乐形象和情绪。
教学难点正确的咬字吐字，流畅地歌唱。
教学准备同学：1. 利用午间休息时间，在教室里一起欣赏电影《音乐之声》，了解故事内容，初步感受多首经典歌曲。
2. 课前查找资料，初步了解音乐剧的有关知识。
3. 查字典，了解歌词内容。
教师：多媒体课件，钢琴。
教学环节教师活动同学活动环节小记一、走进“音乐剧”1、由已欣赏的音乐剧《音乐之声》引入活动，引导同学回忆并自由表达感受：女主角叫什么名字？有几个小朋友？哪个局面最令你觉得有趣或感动。
根据欣赏，回忆认识的主人公。
自由表述：故事中，令你印象最深刻、或感动的片断。
初步了解音乐剧的有关知识，了解《音乐之声》剧中的主要人物和故事情节，在欣赏中引发同学对音乐的喜爱，对老师的喜爱，拓展文化视野，培养学习的兴趣。
2、出示书本P24页的文字，朗读。
介绍《音乐之声》是曾荣获1966年最佳影片、最佳导演、最佳音乐、最佳音效和最佳剪辑等五项奥斯卡金像奖，打破电影史上最高卖座记录的美国歌舞片。
了解《音乐之声》由舞台音乐剧搬上荧幕，走向世界，并受到各国观众喜爱。
3、播放视频片段《Do-Re-Mi》：在萨尔茨堡的野外，教师玛丽亚教给小朋友们do-re-mi，带领他们纵情歌唱，快乐游玩的场景。
《音乐之声》赏析
《音乐之声》摘要：《音乐之声》改自美国同名音乐剧，以音乐剧的形式，去反映二次大战时期奥地利的一段特定的历史。
人类记忆中最值得珍惜和细细回味的艺术佳作，好莱坞音乐歌舞片中经典中的经典，电影史上绝妙的神来之笔。
本篇文章主要从音乐、风景、故事剧情、摄影等多个角度来鉴赏。
关键词：《音乐之声》剧情赏析一、《音乐之声》的由来《音乐之声》原是百老汇舞台上作为保留节目的音乐剧，从一九五九年公演后一直盛况空前。
该剧取材于一个真实的故事：纳粹时斯奥地利的一位修女在一户富家当家庭教师。
由于他们看不惯纳粹的所作所为，逃到美国并组成了"特拉普家庭合唱团"，在各地巡回演出，事迹十分感人。
这些真实人物事件都被移植到影片里。
音乐设计与作曲为原剧作者理查德.罗杰斯和奥斯卡.汉麦斯坦，他们对原剧作了较大的改动，增加了许多首新的歌曲。
影片的拍摄权由二十世纪福克斯（TwentiethCentury-Fox）公司在一九六O年以一百万美元购得，但因合同规定，只好等到原剧在百老汇演出结束后方开拍。
一部音乐片的成功与否，作曲是重要的因素。
怀斯的歌舞片《西区故事》所以一举魁，其中音乐和歌曲充满了美国式的活力，许多歌曲《玛丽娅》、《晚上再见》等等，上映之后就在大街小巷流传开来。
影片《音乐之声》同样如此，凡是看过这部影片的观众，无不沉浸在优美动听的乐曲之中。
《音乐之声》的作曲是美国著或的作曲家理查德．罗杰斯。
他曾作1000多首歌曲和十几部歌剧，尤其善于在复杂的节奏中寻求一种惊人的和谐，旋律自然、流畅而简洁，但简洁中又显示出高度的技巧。
《音乐之声》中的作曲就是他这种创作风格的代表作。
二、《音乐之声》地位《音乐之声》用托德－AO宽银幕系统拍摄，片长三小时，在一九六五年奥斯卡奖的竞选中，《音乐之声》被提名十项，人们本以为这部影片自1965年5月公映以来，创了美国电影票房的新纪录，奥斯卡金像奖竞争过程中将会畅通无阴阻。
有趣的是，当年2月提名时，怀斯的《音乐之声》遇到了强劲的对手--英国的《日瓦戈医生》，两片都获得8项金像奖提名。
《音乐之声》电影解说素材
电影的故事在玛利亚和冯·特拉普舰长的爱情中达到高潮。两人的爱情从最初的冷淡到最终的热烈，体现了真爱的力量和温暖。电影的音乐元素在这个过程中起到了关键的作用，玛利亚用音乐教育孩子们，也用音乐打动了舰长的心。
电影中，玛利亚的形象也十分引人注目。她是一位乐观、坚韧的女性，用她的热情和爱心改变了一个家庭。她的形象展现了女性的力量和勇气，以及她们在家庭和社会中的重要角色。
电影的结尾，冯·特拉普一家穿越阿尔卑斯山逃离奥地利，是一幕深入人心的场景。在这一刻，我们看到了家庭的团结和勇气，也看到了他们对自由和正义的坚持。
《音乐之声》电影解说素材
《音乐之声》（The Sound of Music）是一部1965年的美国音乐剧电影，由罗伯特·怀斯执导，朱莉·安德鲁斯和克里斯托弗·普卢默主演。以下是一个详细的电影解说稿，可供您参考：
"欢迎来到《音乐之声》的电影解说。这部由罗伯特·怀斯执导的经典音乐剧电影，带我们回到了二战前夕的奥地利，讲述了一段深情厚意的家庭故事。
这部电影拥有许多经典的音乐作品，如“Do-Re-Mi”，“My Favorite Things”，和“Climb Every Mountain”等，它们不仅仅是电影的背景音乐，更是情感表达的工具，展示了角色们的感受和经历。例如，“Do-Re-Mi”就是玛利亚教孩子们学习音乐的场景，而“Climb Every Mountain”则鼓励人们面对困难勇往直前。
在《音乐之声》中，我们看到了音乐的力量，看到了爱情和家庭的重要性，也看到了在困难和压迫面前，人们的坚韧和勇气。这部电影以其深情的故事，美妙的音乐，和鲜明的人物，成为了一部深受人们喜爱的经典电影。无论你是音乐剧的爱好者，还是喜欢深情故事的观众，《音乐之声》都是一部值得一看再看的电影。
电影《音乐之声》音乐赏析
电影《音乐之声》音乐赏析电影《音乐之声》音乐赏析1、简介1.1 影片概述1.2 制片信息1.3 主要演员介绍2、音乐剧风格2.1 音乐剧的定义与历史2.2 《音乐之声》的音乐剧风格2.3 影片中的音乐舞蹈表现形式3、原声音乐3.1 原声配乐的作曲家介绍3.2 影片原声音乐的特点3.3 著名音乐片段赏析4、歌曲分析4.1 《Do-Re-Mi》4.1.1 歌曲的背景故事4.1.2 歌曲的音乐特点4.1.3 歌曲的寓意与感染力4.2 《My Favorite Things》4.2.1 歌曲的背景故事4.2.2 歌曲的音乐特点4.2.3 歌曲所传递的情感与主题4.3 其他影片中的经典歌曲分析5、音乐与故事情节的关联5.1 影片中音乐与故事情节的呼应关系5.2 音乐在影片中的角色与作用5.3 音乐的表现手法对剧情的推动效果6、法律名词及注释6.1 版权法：保护创作者对其作品的独立权益，包括音乐的著作权。
6.2 表演权：指演员对其表演作品的独立权益，如音乐剧中演员的表演权。
6.3 音乐授权：指将音乐创作授权给特定个体或机构进行使用。
7、附件7.1 影片剧照7.2 歌曲原声录音7.3 音乐剧相关资料-----------------------------------------本文档涉及附件：请查看附件部分。
本文所涉及的法律名词及注释：6.1 版权法：保护创作者对其作品的独立权益，包括音乐的著作权。
6.2 表演权：指演员对其表演作品的独立权益，如音乐剧中演员的表演权。
6.3 音乐授权：指将音乐创作授权给特定个体或机构进行使用。
音乐之声PPT课件
音来演唱。如“依”和“哦”是最常用的。此外，
在约德尔的旋律进行中，音程间的大跳也是常见
的。
学唱第一段
音乐剧——
❖ 音乐剧：音乐剧是由喜歌剧及轻歌剧（或称“小歌剧”） 演变而成的，早期称作“音乐喜剧”，后来简称为“音 乐剧”，是19世纪末起源于英国的一种歌剧体裁，是音 乐、歌曲、舞蹈和对白结合的一种戏剧表演，剧中的幽 默、讽刺、感伤、爱情、愤怒作为动人的组成部分，与 剧情本身通过演员的语言，音乐和动作以及固定的演绎 传达给观众。音乐剧熔戏剧、音乐、歌舞等于一炉，富 于幽默情趣和喜剧色彩。它的音乐通俗易懂，因此很受 大众的欢迎。
❖ 音乐剧在全世界各地都有上演，但演出最频密的地方是 美国纽约市的百老汇和英国的伦敦西区。因此百老汇音 乐剧这个称谓可以指在百老汇地区上演的音乐剧，又往 往可是泛指所有近似百老汇风格的音乐剧。
音乐剧《音乐之声》
《孤独的牧羊人》
——————
歌曲背景
节拍 情绪 曲调风格
选自电影《音乐之声》，奥 地利民歌。 表达了勤劳可爱的牧羊人热 爱自然、热爱生活的情感。
二拍子
轻快、活泼
诙谐、幽默 (衬词、真假声结合)
在山顶上有个牧羊少年 来咿奥都来咿奥都来咿奥 他放开歌喉在纵情歌唱 来咿奥都来咿奥都喽 少年的歌声多清脆嘹亮 来咿奥都来咿奥都来咿奥 歌声在田野和城里回荡 来咿奥都来咿奥都喽
衬词:
来咿奥都 来咿奥都 来咿奥
真假声结合：
奥都来咿 奥都来咿 奥都来咿咿 奥都来咿……
《约德尔唱法》
约德尔——
❖ 又称约尔德调、岳得尔歌，是一种伴随快速并重
复地进行胸音到头音转换的大跨度音阶的歌唱形
式。产生一串高-低-低-高的声音。 ❖ 这种唱法的特点是在演唱开始时在中、低音区用
电影《音乐之声》
电影《音乐之声》一、电影基本信息1.1 电影名称：《音乐之声》1.2 导演：罗伯特·怀斯1.3 编剧：欧维尔·哈默斯坦1.4 出品时间.1965年1.5 电影类型：歌舞剧、传记、家庭片二、剧情梗概2.1 背景介绍《音乐之声》是一部根据真实故事改编的电影，故事发生在二战期间的奥地利。
主角玛利亚是一个年轻的女子，她加入一家上尼兹山修道院，但她的个性过于活泼，与修道院的规矩不相符，于是调往一个富有的家庭担任家庭教师。
2.2 主要情节1) 玛利亚抵达冯特贝格家，开始教育冯特贝格的七个孩子，她以歌唱和音乐为媒介与孩子们建立起了深厚的关系。
2) 冯特贝格男爵对音乐一无所知，但在玛利亚的影响下，他也重新找到了对音乐的热爱。
3) 冯特贝格家领导阶层不满孩子们被外界的影响，试图把玛利亚赶走；但经过一系列事件后，他们认识到孩子们在玛利亚的教育下的进步，决定留她在家。
4) 玛利亚为冯特贝格家准备了一个音乐会，孩子们在表演中展示了他们的才华。
然而，奥地利纳粹势力日益强大，冯特贝格家面临种族歧视。
5) 最终，冯特贝格一家决定逃离奥地利，并在逃亡过程中玛利亚与冯特贝格男爵相爱并结婚。
三、角色介绍3.1 玛利亚·冯·特拉普：担任冯特贝格家的家庭教师，以她的音乐才华影响了冯特贝格家的每一个成员。
3.2 冯特贝格男爵：玛利亚的雇主，一开始对音乐不感兴趣，但在玛利亚的教育下渐渐改变。
3.3 冯特贝格女士：孩子们的母亲，去世后留下了冯特贝格一家面临的巨大挑战。
3.4 冯特贝格的七个孩子：鲍勃、弗里德里希、路易莎、库尔特、布鲁根、玛蒂尔达和吉特尔。
四、影片风格和主题4.1 影片风格：《音乐之声》是一部充满了音乐和舞蹈的歌舞剧片，描绘了一个充满希望和温情的家庭故事。
4.2 主题：音乐、家庭、爱与希望是这部电影的主要主题。
通过音乐的力量，家庭成员重新找到了彼此的联系，爱情也在音乐的浪漫氛围中得到了升华。
音乐之声影片插曲及歌词
《音乐之声》是一部在美国百老汇经久不衰的音乐剧，1965年被好莱坞导演罗伯特·怀斯搬上荧幕，由朱莉·安德鲁斯(Julie Andrews)和克里斯托弗·普鲁默(Christopher Plummer)主演，获第三十八届奥斯卡最佳导演、最佳影片、最佳配乐、最佳剪辑、最佳录音五项大奖，成为电影史上传颂最广的一部活泼、温馨的音乐电影，好莱坞音乐歌舞片经典中的经典艺术与娱乐最成功的平衡之作，人类最珍贵的永恒佳品。
它取材于玛利亚·奥古斯都·特拉普的同名自传体小说，讲述的是1938年发生在奥地利的一个真实故事。
里面的角色、情节、人物经历家喻户晓，主题歌曲也被广为传唱，由它带来的影响面之广、覆盖面之大、被感染的人数之多可谓空前绝后、独一无二。
影片中的插曲各有特色，歌词或优美、或抒情、或诙谐，曲调轻松、活泼、流畅，琅琅上口，实在太喜欢了，就将它们一并收到这里。
让我们随着歌声一起回顾这部经典的影片吧。
1.The Prelude and The Sound Of Music 序曲及音乐之声/音乐/音乐之声.mp3/wma/othercd/bmg2704201.wma影片一开始以这首歌曲为背景，展现了奥地利山峦起伏、森林茂密的美丽自然风光。
玛利亚来到山上纵情歌唱，歌曲抒发了她对故乡、对大自然、对音乐的无比热爱。
The hills are aliveWith the sound of musicWith songs they have sungFor a thousand yearsThe hills fill my heartWith the sound of musicMy heart wants to singEverything it hearsEvery song that it hearsMy heart wants to beatLike the wings of the birds that riseFrom the lake to the treeMy heart wants to sighLike a chime that fliesFrom a church on a breezeTo laugh like a brookWhen it trips and fallsOver stones on its wayTo sing through the nightLike a ark who’s learning to p rayI go to the hillWhen my heart is lonelyI know I will hearWhat I’ve heard beforeMy heart will be blessedWith the sound of musicAnd I’ll sing once more2.Morning 早晨镜头从野外转到修道院，这是Hymn Alleluia(修女合唱团在演唱。
费元洪：还你一个真实的《音乐之声》
U P O N87SHANGHAI ARTISTS | 2015 Vol.1A True Sound of Music还你一个真实的《音乐之声》A True Sound of Music费元洪 Fei Yuanhong经久不衰的《音乐之声》讲述了冯·特拉普上校一家的七个孩子和家庭教师玛利亚的故事。
每一个喜欢《音乐之声》的人大概都会这样认为，这一定是一出真实的故事吧。
那么，真实生活中的《音乐之声》是怎样的呢?《音乐之声》又是如何从生活中走上舞台，从舞台走上银幕的呢？故事的原型《音乐之声》的原型还是要从故事的男主角冯·特拉普上校说起。
冯·特拉普上校是奥匈帝国战绩显赫的海军将领，当时他作为海军指挥官的声望可以和二战时期的艾森豪威尔相比。
在1910年，他与十分富有的贵族阿加莎·怀特黑德在一场舞会上一见钟情，不久后两人结婚。
怀特黑德的祖父还是水雷的发明者，与海军有着不解之缘。
婚后他们一共育有七个子女，过着幸福美满的生活。
但一战之后情况发生了改变，奥匈帝国解体，冯·特拉普上校不得不提前退役。
那是他一生中最灰暗沮丧的时期。
不过他们的生活依然过得富足，妻子的祖父去世后留给了他们巨额遗产。
然而1922年，怀特黑德因猩红热病逝，特拉普上校又一次陷入深深的痛苦之中。
之后，孩子们换了无数个看护，直到1926年，一位名叫玛丽亚的修女被派到冯·特拉普家，后来她就成为了故事的女主角。
玛利亚来到特拉普上校家的时候只有21岁。
玛利亚身世悲惨，三岁时她的母亲就去世了，不久又被父亲抛弃，后来就被寄养在舅舅家。
舅舅时常打骂她，悲惨的身世驱使她在考上师范学校之后就离开了家。
毕业后，玛利亚进入萨尔茨堡成为了见习修女。
而特拉普上校一家是虔诚的天主教徒，他们也为拥有这样一位从修道院过来、又懂音乐的家庭教师感到由衷高兴。
不久后，上校向玛利亚求婚。
特拉普上校比玛利亚整整年长25岁，这是两代人的婚姻。
以《音乐之声》《雨中曲》为例浅析音乐剧作品的时代魅力
以《音乐之声》《雨中曲》为例浅析音乐剧作品的时代魅力马昀楚
【期刊名称】《戏剧之家》
【年(卷),期】2024()5
【摘要】随着传播媒介的不断进步和发展,越来越多的音乐剧作品进入了大众的视野。
在音乐剧的发展历程中,许多经典作品也为世人所熟知,《音乐之声》和《雨中曲》就是如此。
基于此,本文将结合这两部音乐剧的创作背景,分析它们对当时时代的影响以及对后世的启示。
【总页数】3页(P9-11)
【作者】马昀楚
【作者单位】中国传媒大学
【正文语种】中文
【中图分类】G613.5
【相关文献】
1.试论中国原创音乐剧的艺术魅力——以音乐剧《五姑娘》为例
2.农村学校艺术接受拓展教学初探--以音乐剧电影《音乐之声》赏析教学为例
3.音乐剧教学中排演过程研究——以《音乐之声》片段《孤独的牧羊人》为例
4.音乐剧舞台呈现形式之魅力——以音乐剧《阿拉丁》中茉莉公主唱段《These Palace Walls》为例
5.巧设活动,让学生感受音乐剧的魅力——以《走进音乐剧<猫>》为例谈音乐剧欣赏教学
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影片简介：
影片《音乐之声》是个真实的 故事，取材于第二次世界大战 前的奥地利，是根据玛利亚· 冯·特拉普的自传《冯·特拉普 家的歌手们》改写而成的。
该影片1966年获得第38届奥 斯卡最佳影片、最佳导演、最 佳剪辑、最佳音效和最佳配乐 六项大奖以及十项奥斯卡提名 ；是好莱坞音乐电影史上不可 逾越的经典.
学唱歌曲
简介：孩子们和上校合唱的《The Sound of Music》使其长久禁锢的心被这家中久违了的 美妙、纯真、动人的歌声融化了，与Maria的误 会涣然冰释。
简介：据说这是一首阿尔卑斯山脉地区， 牧羊女牧羊时用来召唤羊群时所唱的歌， 玛利亚和孩子们用木偶戏边唱边演，歌曲 与木偶戏相结合，十分生动诙谐。
最终找到了属
于自己的真爱 。
当他们度蜜月之后回 到奥地利之后，发现 奥地利已经是纳粹旗 帜横行了。于是他们 借助家庭音乐比赛的 机会，在麦克叔叔和 修道院的帮助下，逃 离了奥地利。
影片最后的镜头是特 拉普一家爬上阿尔卑 斯山，离开多难的祖 国到达瑞士，曙光象 征着他们新生活的开 始。
《The Sound Of Music》
命的真诚与勇气。 2、刻画了玛利亚纯真开朗、无拘无束的性格形象。
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