谈谈歌唱者如何形成自己的演唱风格

歌唱的风格是指在演唱时所采用的具有特点与个性的态度和方法。歌唱者只有让其个性自然流露,才能形成自己的风格。如何去追求和形成这种风格呢?根据笔者个人的艺术实践,认为可以从以下三个方面加以努力。第一,打好生活、文化、专业基础,是形成风格的前提歌唱者的风格,需要建立在歌唱的基本功之上,如同建筑一栋房子,首先要具备一个好的基础。对歌唱者来说,这种基础包括三个方面:生活、文化和业务,三者缺一不可。生活是艺术的源泉。决心从事歌唱艺术的人,必须坚持向社会学习、向书本学习、向一切内行的人们学习。笔者作为湖南省民族歌舞团的一…     

浅谈学习歌唱的练习步骤

歌唱是人类表达思想情感最为直接的艺术表现方式,倘若我们把经过科学训练、规范化的歌唱,比作一种＂乐器＂,那么它同通常所讲的乐器有着很大的不同,最为明显的区别是：通常乐器能看得见、摸得着,而歌唱这一＂乐器＂,首先应了解掌握其特点,然后再进行有步骤地、科学地练习,方可达到预期效果和目。     

试论歌唱紧张心理的分析与解决

声乐艺术是人类精神层面上的产物,一个歌唱者,无论在演唱技巧的表现方面,还是对演唱的作品理解层面上,自始至终贯穿着复杂的心理活动过程.人们在声乐学习或是在歌唱表演中,由于性格、气质、音色、文化程度和心理调节因素等方面的差异,在声乐技巧和表现上的把握会产生很大影响.所以,要想唱好声乐作品,对歌唱者心理素质的培养是十分必要的.本文通过歌唱者紧张的心理状态分析、平时上课时做好心理训练、演出前做好心理调节、演出时注意力要集中这四个方面,谈谈如何提高歌唱者的心理素质.     

试论歌唱紧张心理的分析与解决

声乐艺术是人类精神层面上的产物,一个歌唱者,无论在演唱技巧的表现方面,还是对演唱的作品理解层面上,自始至终贯穿着复杂的心理活动过程。人们在声乐学习或是在歌唱表演中,由于性格、气质、音色、文化程度和心理调节因素等方面的差异,在声乐技巧和表现上的把握会产生很大影响。所以,要想唱好声乐作品,对歌唱者心理素质的培养是十分必要的。本文通过歌唱者紧张的心理状态分析、平时上课时做好心理训练、演出前做好心理调节、演出时注意力要集中这四个方面,谈谈如何提高歌唱者的心理素质。     

舞台演唱怯场心理及应对策略的研究

在声乐学习及舞台演唱中,通常会侧重于对演唱者歌唱技能和舞台表现力的训练和培养,却容易忽略演唱者心理状态的良好与稳定对舞台演唱所造成的影响。本文通过对舞台演唱怯场心理原因的分析,总结出引起“怯场心理”现象的几点原因,并通过自身在声乐学习与艺术实践中的实际经验,提炼出几点避免及克服怯场心理状态的指导理论依据。     

在钢琴教学中如何让学生做到情感与理智的统一

钢琴是乐器之王,它拥有独特的优越性,钢琴的音乐表现力非常丰富,表现的音响效果极其出色,其他乐器是不能跟钢琴比拟的,钢琴的音色华丽而优美,它的音域宽广且丰富,所以钢琴受到越来越多人们的青睐,但是想要打好钢琴牢固的基础,拥有好的钢琴艺术表演技术,就应该拥有好的音乐表现力和对艺术作品的感悟,展现音乐的艺术形式是表演,表演是展现艺术形式的创造,个人的情感和智慧都是参与艺术创造的行为表现。当一个优秀的音乐家表演时,是在表演创作中把全部的热情和缜密的思考融入到一起,才能成功地表达自己的意愿,让音乐作品更好地体现。在钢琴教学中应该让学生们在钢琴演奏中做到感情与理智相统一,这样才会力求真与美的交融,将全面的演奏技巧融于完美的音乐表现之中,让钢琴艺术的无限魅力表现出来。     

歌曲演唱中情感表达的意义

歌唱艺术是当前社会中的一种重要艺术,同时也具有很强的艺术感染力.在歌曲演唱活动中,情感表达承担着重要的作用.本文就以歌曲演唱中情感表达的意义为研究对象,首先详细分析了情感表达对于歌曲演唱活动的重要作用,其次指出了将二者进行良好融合的策略,帮助歌唱者可以在自身演唱活动中更好地将歌曲演唱与情感表达相结合,实现更好的演唱效果...     

在钢琴教学中如何让学生做到情感与理智的统一

钢琴是乐器之王，它拥有独特的优越性，钢琴的音乐表现力非常丰富，表现的音响效果极其出色，其他乐器是不能跟钢琴比拟的，钢琴的音色华丽而优美，它的音域宽广且丰富，所以钢琴受到越来越多人们的青睐，但是想要打好钢琴牢固的基础，拥有好的钢琴艺术表演技术，就应该拥有好的音乐表现力和对艺术作品的感悟，展现音乐的艺术形式是表演，表演是展现艺术形式的创造，个人的情感和智慧都是参与艺术创造的行为表现。当一个优秀的音乐家表演时，是在表演创作中把全部的热情和缜密的思考融入到一起，才能成功地表达自己的意愿，让音乐作品更好地体现。在钢琴教学中应该让学生们在钢琴演奏中做到感情与理智相统一，这样才会力求真与美的交融，将全面的演奏技巧融于完美的音乐表现之中，让钢琴艺术的无限魅力表现出来。     

歌唱心理的调适

歌唱心理属于艺术心理学范畴,其构成是复杂的,受到歌唱主体的情绪、个性(性格)、意识、气质等各类综合因素的影响.歌唱心理在声乐演唱和表演中发挥重要作用.针对演唱者在歌唱过程中常出现心理状况,需要结合实际情况,在认真刻苦训练、增强情感联想、提升心理素质、预判突发状况等方面进行调适.     

歌唱心理的调适

歌唱心理属于艺术心理学范畴,其构成是复杂的,受到歌唱主体的情绪、个性(性格)、意识、气质等各类综合因素的影响。歌唱心理在声乐演唱和表演中发挥重要作用。针对演唱者在歌唱过程中常出现心理状况,需要结合实际情况,在认真刻苦训练、增强情感联想、提升心理素质、预判突发状况等方面进行调适。     

乐生美学:《那坡彝族开路经》文化功能研究

《那坡彝族开路经》是广西那坡彝族宗教典籍的一种,是一部反映彝族古代社会生活的史诗。《开路经》在历史进程中将那坡彝族自强不息、团结友善、乐观向上的精神特质全面吸纳,又以庄谐统一的故事性内容,文白相生的表现手法和音乐性的展演形式实践着对百姓艺术性的引导和教化,在审美化的宗教文学氛围里,《开路经》实现了慰藉亡灵、教化世人、凝聚族群等文化功能,诠释着那坡彝族追求乐生的美学品质。     

论少数民族声乐演唱的艺术特征及发展

我国少数民族声乐演唱的艺术特征在风格特点、演唱方法、语言差异及表现形式上形成了各具特色的民族声乐文化,在继承、融合、借鉴和创新的过程中,不断发展与繁荣。本文就此问题作具体探讨。     

贵州彝族传统情歌（曲谷）的音乐特色

Being one of the most ancient eth-nic groups in China, the ‘Yi’ have a long history and an abundant culture. Yi folk songs, which are widely sung in many regions of China, have vari-ous forms and styles. These folk songs reflect the lengthy history of the Yi society; indeed they ex-press the happiness and misery, the dreams and desires of the Yi people. Within this context, this article focuses on‘Qugu’ which is a unique type of music belonging to the Yi people. In fact most Yi people of Guizhou live in the Wumeng Mountains. In their quest for survival, over time the Yi had developed a series of natural worship rites which became one of the sources of their traditional mu-sic. In addition, Yi people formed a unique way to express their love: in times past they developed a tradition of singing in the mountains and forests as to convey their love to their beloved;the‘Qugu’ is one of these Yi’ s traditional love song genres.‘Qugu’ means ‘singing’ and this genre has its own social functioning. According to traditional Yi culture and habits, a ‘Qugu ’ should not be sung in front of parents, brothers, or other rela-tives;instead it should only be sung in a place sur-rounded by mountains and forests and on certain singing sites, called ‘Guji’(in Yi language). In most of the Yi settlements, such ‘singing sites ’ were placed far away from the villages, sometimes on flat areas and sometimes in the remote wilder-ness, in forests or caves. The singing activities on those special sites took place according to specific rules and calen-dars. During the so-called ‘singing festival’ peri-od ( from the 1 st to the 15 th day of the 1 st lunar month and on the 5th day of the 5th lunar month), the singing performances were particularly magnifi-cent. People of all ages, young and old, would gather together from all directions and would sing without interruption for several days. Moreover , the singing festival also had certain traditional rites ( ceremonies ) . For example, at the very beginning, certain clan elders or prestig-ious singers would offer wine and water to the‘heavens and earth ’ . After this offering, ‘the soul of the song’ was invited. The Yi people tradi-tionally worship nature and believe in animism, so indeed a ‘Qugu’ also has its own ‘soul’ . There-fore, when the singing festival would commence, they would invite the ‘soul of the song’ to come;this custom is called ‘Guyexi’ in the Yi language. The nextritual would be the ‘Guyidai ’ ( in Yi) , which means‘the settling down of the soul of the song’ at the particular singing site. There are lyrics like:‘If there is no settling down of the soul of the song, then when the next spring comes the sil-ver flowers will sever their roots, the golden flowers will sever their roots, and the singing sites cannot be set up ’ . After the settling down of the soul of the song, the next ceremony would be the ‘Gukoupu’ ( in Yi) or ‘opening of the mouth of the song ’:this basically means the ‘opening of the door of love’ and also indicates the formal beginning of‘Qugu’ activity. All of this shows indeed that the rite of‘Qugu’ is not as solemn as other rites, as in fact the lyrics of ‘Qugu ’ are mostly about love af-fairs and romance. When the‘Gukoupu’ ends, the young people can start to freely sing. There are indeed lyrics like: ‘Three young chaps brought three axes and went into three directions of the universe; they chopped three pine trees, sawed off three boards, made three chairs, and placed these facing three di-rections. They invited girls to take a seat; the girls sat down and sang. The girls invited the chaps to take a seat;the chaps sat down and sang’ . When this‘free singing’ begins, an ‘antiph-onal group singing’ starts at the singing site (‘Gu-ji ’ ); males and females take part in this and stand/sit separately as they all sing in antiphonal style. In the middle there is a ‘go-between ’ in charge of coordination, judging, and passing on information. The males and females sing and ob-serve back and forth. During this process, affec-tions may emerge between a certain male and fe-male. If indeed a guy or young lady takes a fancy to another person, he or she will ask the go-be-tween for help. If the counterpart gives a positive response, then the two will leave the group and go elsewhere to talk and sing. During this ‘antiphonal group-singing’ , each group can allow a certain ‘representative ’ to sing solo;this solo should not be a repeat of some song performed by someone from another group. The young males and females thus can each show off their voices by singing songs with free rhyme, sweet melodies, and serious or deep topics. It is easy to see that this ‘antiphonal group singing ’ provided a major means of romantic communication between young Yi men and women. In fact, the number of songs they could sing as well as the technique used in singing these significantly deter-mined one’ s ability to attract the opposite sex. As a consequence, both males and females were strongly committed to learn to sing, trying their best to master more and better songs. Through learning from their predecessors, they made an ef-fort to improve their singing abilities. As said, traditionally at the beginning of the singing festival, ‘the soul of the song’ would be invited; well, likewise at the end of the festival‘the soul of the song’ should be sent away again. The Yi people believed that if they would not send the soul of the song away, the young would be ob-sessed by affections all the time and even lose their minds. Finally, Guizhou Yi ’ s folk music-generally speaking-has a great variety in content, perform-ance locations, forms, and genres. Moreover, due to the regional differences music styles also vary geographically. All of this makes the multi-colored Yi music even more delightful and appealing. Unfortunately, the entire tradition ( ceremo-nies) of the‘Qugu’ as described above, no longer exists today. The singers who still know these pro-cedures are getting old and eventually will forget these rites. This is a big loss for the living tradition of the Yi culture, and it is a source of grief for those who study Yi culture, in China and abroad.     

当代中国的音乐及社会差序——京剧票友会与摇滚乐队“派对”比较研究

本文主要探讨当代中国的两种音乐活动形式——京剧票友会以及摇滚乐队派对。这两种音乐形式虽然在风格上截然不同,但是两种社团在结构上却存在着一定的相似性。这两种活动形式基本上都具有我们所称之为＂为位＂（positioning）的行为,参与者由此在音乐活动中找到他们各自的位置。而且,两种活动形式都涉及到＂外来者的融入＂（outsider integration）,即允许陌生人的参与并在活动中找到他们的位置。     

Nationalism in Western art music: a reassessment

Nationalism in Western art music has long been a source of intense controversy. Scholars have struggled to provide an adequate definition of the phenomenon with varying degrees of success; principally because it has always been assumed that the national in music must include purely musical elements in its definition. This assumption has led to often grossly inadequate ideas about how nationalism in music is created by a composer and perceived by a listener. A brief review and reassessment of traditional attempts to define nationalism in music may shed new light on the aesthetic realties of the national in music.     

现代文化场域中纳西民歌之变迁

任何社会文化的变迁,都是来自文化内部和外部各种因素影响的结果.这种变迁既有形态、内容等方面的变迁,还包括深层内涵、社会功能的变迁.随着纳西族社会经济、文化的变迁和外部世界对纳西族本土文化的不断介入,纳西民歌活动的文化场域也较之过去更加错综复杂,因而纳西民歌的本土音乐艺术形式及其功能也产生了一些变迁.     

论古代百越及其后裔民族的纹身艺术

纹身是古代百越及其后裔民族心理特征的一种外在表现和社会意识形态的一个独特的审美范畴,寓含着丰富多彩的内涵和深刻的文化意蕴,孕育出很多与纹身相关的风俗文化事象。从古代美学的角度来看,纹身是一种特殊的人体装饰艺术形式,是古代民族艺术发展史上的奇葩。本文多层次、多角度地深入考证和探究了古代百越及其后裔民族纹身艺术产生、发展的历史过程和主要原因。     

布朗族民族文化资源信息化初探

近年来,云南人口较少民族经济发展与文化保护的矛盾日益凸显,民族地区的文化生境不断遭受破坏;加上人口较少民族的价值观念逐渐发生变化,非物质文化遗产传承人出现断层等问题,人口较少民族文化保护形势严峻。云南布朗族在应用信息化手段保护民族文化方面有很好的实践。布朗文化遗产可数字化资源划分为实体和物质文化遗产与口头和非物质文化遗产两大类。按照三级指标评价模型,结合可数字化文化资源的特点,首先聘请专家依据＂可数字化资源评价赋分标准＂对布朗族民族文化资源进行打分,并采用微积分运算公式计算出三级指标的综合评价值,根据最终评价得分来评判布朗族民族文化资源是否具有可数字化的价值。然后,对文化资源进行数字化采集,综合采用静态数字化技术、动态数字化技术和三维数字技术,按照文本数字化、图像数字化、三维图像建立、虚拟物品制作四个数字化级别来进行信息化处理。     

青海玉树地区“卓”曲的调查研究

青海玉树地处偏远,居住于此地的藏族人世代信奉藏传佛教,玉树藏族人民十分喜欢歌舞,他们的歌舞闻名遐迩。歌舞是他们生活中不可缺少的一部分,玉树民间歌曲内容极其丰富,而盛行于玉树地区的歌舞卓具有很高的艺术价值。本文从玉树对卓曲的发展,卓曲的分类及音乐特点这两方面进行了较深入的研究,对其曲式进行了较详细的归纳和总结。     

‘Police On My Back’ and the postcolonial experience

‘Police On My Back’ was written in England by Eddy Grant and recorded by his group, The Equals, in 1967. Since then it has been covered by a number of artists. In this article I am concerned with the original and four covers. Over the 40 years between the Equals' version of the song and the final version with which I am concerned, the meaning of the lyrics has changed from being an expression of Jamaican rude boy culture to being a song that expresses the oppression of migrants from British and European colonies living in the metropoles of the colonisers. This article tracks the changes in musical and lyrical expression in the song against the increasingly oppressive circumstances of those migrants and their descendents. These are the circumstances that contributed to the British riots of 1981 and of 2011, and the French riots of 1981 and the many subsequent riots climaxing in those of 2005. ‘Police On My Back’ has always been hybrid. Grant's version placed rude boy lyrics with a British beat group sound. Later, as the lyrics came to reflect the circumstances of the migrants, so the musical backing came to include a variety of musical forms, many of which expressed the heritages of the performers and asserted the legitimacy of those heritages in a multicultural context.