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在本文开笔之初,当首先确认与本文立论密切相关的一个基本前提,即:在当下音乐界关于“三种唱法”的争论中,与一些论家否认有民族唱法、美声唱法和通俗唱法之别而断言只有一种“科学唱法”的论点不同。笔者认为,尽管随着专业声乐教育的不断进步以及我国声乐界和广大听众审美意识的巨大变化,这三种唱法互渗交融的趋势也日益明显,各种中间形态的“跨界”唱法由此产生,但三者在发声原理和声音形态上的特点和分野,不仅专家能够明确区分,就连一般听众单凭其听觉的直觉经验也能予以辨别。有鉴于此,本文沿用“民族声乐”及“民族唱法”概念,仍以承认“三种唱法”的客观存在为前提。
At the beginning of this article, we first confirm the basic premise that is closely related to the essay of this essay: in the current debates over “three singing styles” in the music industry, some theorists deny that there are national singing styles, The difference between the singing method and the assertion that there is only one “scientific singing method” argument is different. The author believes that although with the continuous development of professional vocal education and the vast changes in the aesthetic awareness of our vocal music industry and the general audience, the tendency of these three kinds of singing is becoming more and more obvious. The “trans-boundary” singing of various intermediate forms The resulting three characteristics of the vocal principle and sound morphology and the division of fields, not only experts can be clearly distinguished, even the general listener alone, the intuition of hearing their own experience can be distinguished. In view of this, this article follows the concept of “national vocal music” and “national singing style”, and still admits the objective existence of “three singing styles”.