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笔者从音乐美学专业转行学习歌剧表演,算是半路出家。各种音乐门类都具有自身的独特性,通过四年的专业训练和各种舞台实践,当笔者从一种理性的逻辑思维定势转向感性的机能运用时,深感写作和歌唱之间于艺术表现形式上存在的巨大差异。先不讨论声乐歌剧表演中蕴含的技术技能和艺术韵味,单单是人种和嗓音的大相径庭,就足以凸现出声乐专业在学习、教学、表演等方面的复杂性和丰富性。本文试图站在分析者的理论视角和歌唱者的实践视角两个层面,结合个人的学习经历,探讨歌唱艺术中的速度问题。声乐教学的核心内容是训练学生的歌唱机能和提高学生的音乐表达能力,这两点都要以作品为依据,从作品开始,在作品中体现,最后呈现出作品原貌。这里
I switched from music aesthetics professional opera performances, be halfway monks. All kinds of music categories have their own unique characteristics. Through four years of professional training and various stage practices, when the author shifts from a rational logical thinking to the application of perceptual functions, he deeply reacts to the art between writing and singing There are huge differences in manifestations. Without discussing the technical skills and artistic charm inherent in vocal opera performances, the mere fact that people and vocals are quite different is enough to highlight the complexity and abundance of vocal music professionals in learning, teaching and performing. This article attempts to stand on the analyst’s theoretical perspective and singer’s perspective of practice two levels, combined with personal learning experience, to explore the speed of singing in the art. The core content of vocal music teaching is to train students ’singing ability and improve students’ ability to express music. Both of these points need to be based on the work, starting from the work, reflected in the work, and finally showing the original appearance of the work. Here