Singing is an auditory art, and its artistic appeal is finally reflected through singing. The process that singers turn notes and characters into sounds is a process of artistic re-creation, which is often called "second creation". After all, the poetry and music of a good or even classic song only stay on paper, and must be sung vividly by the singer in order to make the audience fully feel it. Therefore, as a singer, we should enrich ourselves from all aspects, improve the quality of culture and art, and carry out arduous artistic re-creation activities in a down-to-earth manner.

When you get a song, you should pay attention to the following artistic links in the second creation of singing:

First, the understanding of connotation

The so-called connotation mainly refers to the inner meaning of the work, that is, thoughts and feelings. Understanding the connotation of the work is the basis of singing. When you get a song, don't sing it in a hurry, but recite the lyrics several times, so as to understand the background, specific environment and the thoughts and feelings of the protagonist. No matter whether a song is long or short, it embodies the composer's strong feelings, and every note contains the composer's deep affection, which needs the singer to explore and understand seriously. The deeper the understanding of the work, the deeper the feeling, and the purer and more perfect the expression when singing. The depth of an actor or singer's literary accomplishment will directly affect his understanding of the connotation of his works. Many people who learn to sing often talk about singing performance simply from vocal skills, so the contact surface is usually narrow. They don't read novels, paintings, poems and music, even newspapers. Their horizons are not broad and their knowledge is not rich. It is impossible to learn to sing in this way. If you have a deep understanding of the connotation of the work, the result will be very different, because only on the basis of understanding the work can you express your true feelings.

Second, the imagination of artistic conception

The imagination of artistic conception is to stimulate the imagination of music as much as possible. Singers should turn themselves into a moving picture, a writer, a poet and the protagonist of a work according to the content and musical image of the song. In other words, as a dramatic actor, you need to immerse yourself in the scene. If you imagine the basic artistic conception and artistic conception of a song very concretely, then you will be very real and vivid when you express it. Imagination and artistic conception will soon help you establish a correct musical image or the image of the hero of the song. The image of the hero of the song is complete and unified, and the theme of the song is distinct, so that you can achieve true feelings. Of course, the singer's ability to explain music is not built in a day. It is a kind of accumulation of life, memory and emotion. The more this accumulation is, the richer the "inspiration" will be. Therefore, as a singer, we should always use our eyes and ears to collect and listen to pictures and sounds of all kinds of life and feel life, so as to enhance our understanding and imagination of life and characters and understand the connotation of our works more deeply.

Third, the use of sound.

When we sing a work, what kind of voice can we use to conform to the ideological content and emotion of the work, which is worth studying and designing. As a singer, besides having a beautiful voice, it is particularly important to be able to control all kinds of voice and timbre changes, such as choosing a majestic voice when facing a March, a bright and gorgeous voice when facing a waltz, and a soft and sweet voice when facing a lullaby. Here, the sound should also have an imaginary process. For example, for a lyrical and gentle tune, the sound can be imagined as "soft scarf floating in the breeze" and "leaves falling gently on the ground" and other sound controls; For example, when singing a soft and brisk song, the sound can be compared to "transparent dew", "raindrops on a spring night" and so on. In short, we should be good at mobilizing the most suitable voice in the vocal library, singing the auditory effect needed by the song content and expressing the work properly.

Fourth, grasp the style.

The style of works or music is good or bad, and the effect of singing is very different. We often listen to some personal concerts. Some people have beautiful voices and excellent singing skills, but the whole concert, from China folk songs to European classical art songs, sounds good in voice, strength and charm, and they are all the same, with a unique flavor, which makes people forget after listening to it, lacking soul and artistic aftertaste, and lacking artistic accomplishment and cultural accomplishment. The main reason for these phenomena is that the singer did not carefully analyze and understand the style of the times, national style, regional style and personal style of the work before singing, and did not properly express the style of the work with his own singing skills. Therefore, in order to accurately express the connotation of the work, the singer must also study the style of the work in advance (that is, the singing style). Of course, compared with other sister arts, the music style is more abstract. Music is an intangible time art, while painting, sculpture and architecture are tangible space arts, so their styles are often easier to see at a glance than music. The depth of a singer's literary accomplishment will directly affect his understanding of his works and his grasp of style, because the formation of style is mainly based on the deepest understanding. A mature singer can express the composer's creative intention and the style characteristics of his works incisively and vividly, and make the overall meaning of music "clear at a glance" to the audience.

Fifth, the embodiment of charm.

The second creation of singing is a complicated labor process, and the requirements for singers are various. A good singer can not only accurately understand and convey the artistic conception of the song, but also tap some potential things in the song that even the composer did not expect through his own re-creation. A work, the composer can not provide charm, it must be experienced and created by the singer himself. A good singer is not satisfied with the notes recorded in the music score, but will definitely work hard on the extra-sound cavity (cavity is also a charm) and use it properly. After you sing a new song, according to the characteristics of language and emotional needs, you will naturally add some other sounds to the melody of the tone, making it decorative, vibrato, slippery, oblique and so on. Singing will be more touching and natural, and it will be more tasteful and aesthetic. This is the new vitality that charm brings to the work.

Sixth, the handling of art.

With the true feelings of songs, we must have a comprehensive overall idea of song processing, including the speed, intensity, volume, timbre and accompaniment of the whole song. Of course, these ideas are not blind or arbitrary. The structure, style and mode of the song are ups and downs until the rhythm and harmony give the singer general inspiration for artistic expression. They can guide the singer's inner emotions and find the climax and level of the whole song. In singing, we should especially grasp the artistic contrast, such as the difference between narrative and singing of a song, the change of strength and weight in a song, and the most important thing is to find the high point (climax) and low point of the song. Generally speaking, to highlight the high point, we must lower the low point, and there must be a process of paving the way, otherwise the strength will not reach the artistic effect. When dealing with songs, the finishing touch is often some key sentences and words. The key words should be focused on pronunciation and emotion, and we should work hard word by word, even tone by tone, practice singing repeatedly, explore carefully and find the most suitable expression. In other words, the singer must overcome difficulties repeatedly according to his overall design until his handling becomes the embodiment of true feelings.

Seven, forget my singing

To move the audience when singing, we must first put ourselves in an excited singing state. "True or false" is a specific artistic expression. "Fake" is to express "artistic truth", and "fake" is an artistic skill to express "truth". Only when the truth enters the fake and the truth comes out can the unity of artistic authenticity and expressive authenticity be brought into play and the powerful role of artistic appeal be brought into play. Therefore, when we sing, we must grasp the relationship between the two and properly express art. In normal times, we find that some people are still highly nervous when singing, afraid of wolves before and tigers after, full of selfish ideas. This state of singing is absolutely not good for singing, let alone moving the audience. So what we call "selfless singing" is to ask the singer to throw away all the burdens from his thoughts or voices, eliminate all the nervous factors, and enter the singing in a passionate and relaxed state. You know, only when emotions are liberated can we get natural and comfortable sound effects and have more perfect emotional expression. The art of singing should be "sound and music".

Eight. Technology and art

Technology and art, that is, voice and emotion, have always been two parts of singing. Pronunciation, articulation, articulation and emotional expression constitute the whole of singing, which are inseparable. Singing is based on the whole human body as a musical instrument to engage in singing, not just by sound, breath or * * *. Singing is a performing art in which you participate wholeheartedly, not only your whole body, but also your soul. Singing should be a gripping and perfect art that combines various factors, that is to say, only by combining voice with emotion and skill can singing reach a touching realm and produce touching artistic achievements. Voice and emotion are dialectical unity and complement each other. Whether a professional singer or an amateur, in the usual training, we should strengthen the overall awareness of singing, at the same time achieve the expression of singing voice and emotion, achieve the trinity of voice, words and emotion, and develop the habit of singing with heart.

Artistic Treatment and Singing Style of the Song "Kind Motherland"

This song expresses China people's gratitude and infinite loyalty to the motherland with concise brushstrokes and strong feelings.

The whole song consists of two paragraphs and a curved tail lining cavity. The first paragraph consists of four phrases, mainly composed of words and songs with one word and one sound. The melody is smoothly interpreted in the middle and low tones, reciting the deep love for the motherland like singing. The tone at the beginning of the second paragraph jumped to the climax of the whole song, and then the tune gradually declined, expressing people's praise and praise for the motherland. The accent at the end of the song further expressed people's incomparable affection for the motherland.

Key words: emotion, motivation, literary language, second creation.

The song "Kind Motherland" is a China art song, and the so-called works of art have their own unique characteristics. After understanding the characteristics, everyone will have a further and deeper understanding of the singing of art songs.

First of all, it is very important to choose the lyrics of art songs, pay attention to profound thoughts, meticulous feelings and connotations, and achieve the unity of content and form.

Speech is the fruit of emotion and the language of wisdom.

Without the poet's own true feelings, it is impossible to arouse people's * * * voices as naturally as grass sprouts. People who are good at writing feelings will slowly turn to abstraction. The word itself is an image. To achieve a blend of scenes, we must write "virtual" while writing "real", otherwise the meaning of the word will be unremarkable and undesirable.

The writing of lyrics should be not only poetic, but also suitable for composing music and in line with musical logic.

Secondly, the melody writing of art songs should focus on prompting the feelings of lyrics. There are words in songs, and there are songs in words. Music and lyrics should be integrated. No matter whether it is lyrical or narrative melody, we must have a profound experience and understanding of the historical background of music. The melody of art songs is very strict.

Composers should use superb composition techniques and write every lyric in the best way. Words that have no direct meaning cannot provide the composer with imagination space. Beautiful and moving singing melody is the composer's perfect embodiment and sublimation of lyrics.

Finally, the accompaniment of art songs is also very particular, usually piano accompaniment. Piano accompaniment, whether simple or complex, must be well written, because its function is definitely not only a form of accompaniment, but also a performance that conforms to the artistic content like the singing part.

Piano accompaniment plays an important role in expressing environment and space, portraying and supplementing internal image, and communicating with singers. The organic combination of duet and singing is also the uniqueness of art songs.

This song is a required song for vocal music students to practice. Suitable for middle-level boys and girls to practice singing. It was written by Zhang Hongxi and composed by Lu Zaiyi. Generally, the tenor part sings G key, and the midrange part sings F key.

Lu Zaiyi (1943——) is a composer. Yuyao, Zhejiang. 1953 was admitted to the middle school attached to Shanghai Conservatory of Music, and studied piano and composition successively. 1962 was promoted to the department of composition, and 1967 stayed on as a teacher after graduation. 1973 transferred to Shanghai Peking Opera Theatre to participate in the music creation of more than ten Peking Opera in Panshiwan. 198 1 joined the Shanghai orchestra, composing professionally, 1985 as the head of the orchestra, 1988 as the artistic director, and was elected as a member of the presidium of the Shanghai Musicians Association and the editor-in-chief of Shanghai songs. His main works include Blue Sky, Sun, Pursuit for Women's Chorus and Band, China, My Lovely Mother for a Large Chorus and Band, Rainbow after Rain, Orchestral Water Lily, Feelings in the South, Night Forest Dance, and art songs, Motherland, Mother-in-love, and so on. His works are fresh and smooth in melody, full of new ideas, novel in harmony and exquisite in orchestration.

This song expresses the gratitude and infinite loyalty of Chinese sons and daughters to the motherland with concise brushwork and strong feelings.

First, the whole song is a two-part vocal track with a concluding ending. Generally speaking, the singing style of the two vocal music tracks should generally highlight the narrative of the first half and the praise of the second half. The emotional contrast between the first paragraph and the second paragraph in the general two-part vocal music repertoire is relatively strong. When dealing with two ordinary art songs, we should pay attention to the comparison between the memory of the first paragraph and the reality of the second paragraph. So is this song. But after careful scrutiny, there are still many places to pay attention to, and there are places that everyone can't do when singing.

1, the emotional requirement of the whole song is medium-speed affection. But this is different. The specific singing method still needs live singing, but the overall feeling can be controlled in this direction.

Judging from the prelude, it is a sign of "F" and a strong treatment. Therefore, it is an accurate expression of feelings that everyone is an accompanist at the beginning of cooperation, but it should not be too strong. If the accompanist bases his emotions on high excitement from the beginning, he will be stiff and calm when dealing with the climax of the song, and there is no sense of contrast with the prelude. Therefore, when the accompanist plays the prelude, he should help the singer to control his emotions. Generally speaking, not too strong, just generally strong.

The overall melody of the prelude is a stage of emotional decline, which gradually recedes and gradually withdraws, making the singer's mood fall back to a normal narrative mentality that conforms to the beginning of singing:

The high note "a" at the beginning and the low note "a" at the end of the prelude are an octave contrast, returning to the original speed. It is common to use climax melody as a prelude to the whole song, but it also has its disadvantages, that is, it is easy to explode feelings too hard and too fast, and you will be at a loss when the song really reaches its climax.

2. After the prelude, the singer enters the first paragraph. From the ending sound of the prelude to the first word of the opening sound, a five-degree jump is completed, and the melody features are peaceful and natural, making it difficult for the singer to run. A five-degree jump naturally introduces the singer into a deep narrative emotional tone, so it is better to start singing slowly than to start singing weakly.

The singing part of the first paragraph consists of three stages, so we need to think about the first two lyrics: "Who doesn't love mom, use that fiery heart, and who doesn't love mom, use that fiery heart". The content of the two lyrics is the same, but the melody is different, which makes the first two sentences of the first paragraph of the first part of the first part different in the emotional treatment of singing.

② Judging from the harmony between the first two lyrics and melody, the first sentence is more narrative, and the melody reflects progressive feelings, indicating the upward emotional foundation:

Driven this emotional tone. Gradually rising and slowly driving the singer's mood.

(3) Enter the second lyrics: the same lyrics, put in different melodies, have different feelings. This sentence has a feeling of hitting people when they are down, and deeply laments the feeling of stability in my heart:

The melody of this sentence is a feeling of ups and downs, but there is no emotion of venting or giving up, and it is more a deep and responsible feeling. Settle your thoughts, prepare for the climax, and set the stage for the comparison between narrative and eulogy.

3. the promotion of the climax.

(1) This is a gradual emotional preparation process. In the climax, there is a clear and fresh melody to spread the interlude, and the sound is superimposed (or sometimes most of the accompaniment is better by advancing eight degrees forward and backward). When this short episode is played, the singer is storing her feelings and waiting for explosive excitement:

(2) When entering the climax of the song, it should be noted that the singer's feelings should be stored in his heart with the progressive characteristics of the melody during intermission. Don't let your feelings run away at this time, otherwise it will be difficult to sing the climax of the song well. This sentence needs enough breath and a slightly higher head cavity position. When singing the climax part of the song, you should use the feeling of emotion, so that the climax part will not appear too stiff or abrupt.

The intensity of this sentence is marked as strong treatment. Don't just try your best to be strong. Only by striving for strength in stability can climax be interpreted with ease.

(3) From the melody point of view, after the emotional outbreak, the mood of the song has the power to fall back:

Melody ups and downs, gradually back to reality, into the first part of the third stage, and the climax part is the song eye of the whole song, is the explosion point of the whole song, but also a total embodiment of the whole song's technical and emotional, short melody, a few words contain the previous summary, but also leads to the continued development of the theme of the third stage behind.

4, the third stage of singing: the intensity is marked as mf medium and strong, this sentence falls back.

(1) Keep the residual temperature after the climax of the song, which is stronger than the first stage, but weaker than the climax part, until the second sentence of the third stage ends and the whole song enters the interlude.

(2) In this sentence, the singing speed is slightly accelerated, there should be a tone that continues the emotional climax of the song, and the third stage should be connected with the climax, so that the overall feeling will fall naturally and peacefully, and there should be no sudden feeling. The second half of the sentence slowly falls back to the emotional tone of the first stage:

Sing faded symbols until they fall back to the narrative tone. Back to the emotional tone at the beginning. Processing should be gradually weakened and slowed down, forming an emotional contrast between re-creation and interlude. Pave the way for the next big segment.

(3) After the first part is finished, the mood picks up and enters the interlude part. The accompaniment sound pattern of the interlude is the same as the overlapping sound pattern of the climax of the song, and the rising melody leads to the prelude of the song again (the same as the climax part). After the first part of the performance, the accompanist should help the singer recall the basic emotional tone and compare it with the first part in singing.

Secondly, enter the second part, which is more eulogistic than the first part and similar in details. The combination of melody and lyrics still conforms to the way mentioned above, but after singing the first part, it experienced an emotional ups and downs, but the overall inner feelings were still unbroken. The main reason why the first part is different from the second part is that the lyrics are different. The second part is more profound. On the basis of the first part, it is a little more rational and thoughtful, which narrows the distance between the heart and the motherland and shows more atmosphere and openness. So we should deal with it with a little profundity and rationality of praise.

1, the second part is slightly deeper and more rational than the first part: by comparison. (The second paragraph of lyrics: Who doesn't love his mother, use that shining beautiful youth. Dear motherland, kind mother, blue sky and sea are full of joy and loyalty. Is our loyalty to you. )

① Mind: a sensory word, which has always been accompanied by ideological activities.

Youth: a phrase of stage state, which can be experienced through time.

② Yangtze River and Yellow River: Love from the motherland.

Blue sky and sea: rising to the whole world, the whole state of mind is full of love.

3. Good feelings for you: a sentimental word, indicating the psychological state.

Loyalty to you: a preparatory word, always ready for the motherland.

From several aspects of the lyrics, we can see the internal relations and specific differences between the second part and the first part, and we can accurately grasp the differences between the second part and the first part in singing.

2. After the whole song is sung, the sound is still lingering. At the end, the author reproduces the melody motivation at the beginning of the first part with the opening sound "La".

3. "Second Creation":

① We must accurately grasp the connotation of words and distinguish the content and types of songs, so that it is easy to determine the psychological position when singing.

Sometimes in a song, the singer needs to play several different roles at the same time. If you don't pay attention in advance, it will cause confusion in the performance.

Most of the words in art songs are excellent poems. While carefully studying the connotation of lyrics, we must make a concrete analysis of the genre, literary value and emotional content of lyrics language, and if necessary, grasp the different language characteristics to highlight the key points, so that the artistic characteristics of each song have distinct differences. To do this, we must read the lyrics repeatedly and understand the literary connotation in the language, which can help the singer to grasp the key points of artistic songs and further develop the melody from the process of reading the lyrics.

Choosing the right timbre is also the requirement of the second creation and performance of art songs. Tone change is one of the important ways to distinguish different types of art songs. In order to meet the needs of song expression, singers should adjust their timbre at any time.

The choice and determination of timbre is often the embodiment of the singer's own aesthetic views, and the lyricist and composer have actually expressed their literary views in the music score. Whether the singer can accurately convey this view in the "second creation" depends on the singer's own artistic accomplishment on the one hand, and on the choice of timbre on the other hand, which will also affect the depth of the overall understanding of the work.

Artistic songs are different in creative techniques, and there are different requirements for singers to grasp the key points. When choosing artistic songs, singers should reach a certain level in vocal singing skills and language ability, otherwise they will not be able to cover everything when singing.

② The beginning sound A-E is still a five-degree jump at the end of the song, and the scale jump between A and E gives us a feeling that echoes the beginning of the song. But the same five-degree jump recreates the melody twice at the end. There are infinite family ties and slow memories. At the end, the motive material at the beginning of the whole song is used, and the melody gradually goes down, so that the whole song ends slowly and falls into the feeling of infinite memories, leaving the listener with room for imagination and contrast:

(3) The last closed vowel "Woo" is a difficult vowel to master in vocal music skills, and it gradually weakens and slows down when singing this song. Students who have practiced humming may be more humane in dealing with the ending skills and will not deal with the ending stiffly and unnaturally. The last autumn was a summative answer. At the end, the initial emotional questions were answered and answered, which successfully ended the whole song, leaving infinite memories for the listeners and leaving the singer in a deep feeling of incomplete expression. After singing, it is still in the song, and the meaning is still unfinished.

Third, we should pay attention to many technical problems when singing this song. First of all, it is an art song of China. Besides its own specific inner feelings, its complete expressive force needs to be understood from all levels.

1. This song has its own specific rhythm and its own characteristics in phonology. The author's training purpose and training goal at that time also need to be reflected in the song.

2. The vowel of every sentence in this sentence stays on the vowel "e" from beginning to end, and the practice of closing the sound is reflected in the first two sentences of the first paragraph of this song. If you want to sing this song with emotional expression, you must emphasize the singer's rigor in rhyme and steady rhythm, so that the listener can listen with a good calm and quiet mind. On the one hand, this should be achieved by strengthening the singer's Putonghua practice.

3. Pay attention to the coordination of closed tone and open tone, so that the opening and closing tone conversion is natural, round and "clear pronunciation and mellow voice". Pronunciation is the first step in a round tone. In the process of conversion, position, pitch, timbre and other aspects require a high degree of unity. A slight change will affect the emotional confession and expressiveness of the whole song.

The difficulty of this climax is reflected in Song's eyes:

The word "dear motherland" in this sentence is a technical embodiment. It is a place that singers need to pay attention to. The appearance of a large number of opening sounds is also an intuitive feature of this song. This song is also to practice the state and position of the opening sound. In specific songs, the image of vocal music practice is doubled.

The practice of weak vowel processing is also an inspection point of this song. The application of weak processing has special significance in embodying specific works, and this song is no exception. The perfect handling of weak singing can deepen the expression of the inner feelings of this song.

5. Vocal requirements of songs: The requirements for singing language are very strict, and it is a transitional practice to enter the singing language on the basis of standard Mandarin.

Singing language is more exaggerated in the basic state of speaking and more open in pronunciation. In terms of opening, the pronunciation tone should highlight the word "person". We must explain the singing language completely. After singing a word, we should prepare the singing state of the next word, and don't make the lyrics ambiguous, so that the listener doesn't know the language of the lyrics, which will affect the overall processing of the whole work.

The first sentence, "Who doesn't love his mother", should be particularly clear when extracting language vowels: the transformation between ei and u, the treatment between the integrity of ei and the non-suddenness of u vowels. The transformation between u and ei, u and e, u and ai, etc.

Connecting these vowels: ei to u to ai to zi to e to u to in to complete a series of vowel conversion requires a systematic understanding of the practice state of each vowel. This needs to be accumulated in the usual vocal music practice.

Complete vowel conversion. When the next vowel conversion is not completed, don't focus on the bad vowel, but on the previous vowel or the passed vowel. Only in this way can the overall rhythm and pronunciation form a more complete auditory unity. Only in this way can the feelings and singing state of the song be completely unified.

In short, when an art song is in front of us, how should we treat the work and how to express it completely on the basis of singing? All these require us to experience and refine the songs from different levels and angles. Only when we have a deeper understanding of the works can we sing the works to a satisfactory degree. All the above are my own opinions. If you have any valuable suggestions or inappropriate points, please criticize and correct them. I am very grateful.