The pronunciation method of Kunqu opera is 1 Phonetic defects in Yue and Shi.
There are three kinds of students' pronunciations of Kunqu Opera: Yin (low voice), Yang (loud voice) and Xiao Yang (mixed voice), with special emphasis on alternate use. Yue and Shi's respective pronunciations in song singing are flawed. Although they are trying to cover them up with skills, this defect is caused by physiological conditions with female characteristics and can only be reduced to a certain extent.
The pronunciation of yue (referring to the present yue, which was slightly pronounced in the 1980s) is basically in the head cavity, and yin and yang are indistinguishable. It is difficult to tell the difference between a big voice and a small voice in the high-pitched area, which is related to her own sound quality. Teacher Shen once pointed out that she was "short of xiaoyang tune", which is still the case. All the pronunciations point to Yue Opera-obviously there is no bore sound, and there is no deep voice in the chest/abdomen of Kunqu students.
Stone. Compared with Yue, there is a clear distinction between large and small stones and a sound of a chamber. Her voice is clear, but not wide. This shortcoming is obvious in loud voice. She is very distinctive in controlling Xiaoyang and loud voice. Her voice is at the back, her voice is very flat, and her pronunciation is full of muffled sounds to enhance her strength. This is not the pronunciation of traditional Kunqu opera. Stone is mainly regulated by breath, and its weakness is the same as Yue's: the sound can only go up, but not down!
Summary: Shi Yue's obvious shortcoming is the lack of a big voice of chest and abdomen sounds, which sounds very weak. That's why they don't sing big official students! (Uncle Cai has repeatedly stressed that a big official just sings a tune. . Women have a narrow voice and relatively insufficient strength, which is determined by physiology. Compared with singing, the stage performances of the two teachers are more commendable, and both of them are very distinctive!
Extended reading:
Kunqu opera has always been regarded as' palace art' and' literati art'. Although it was all the rage in the late Ming and early Qing Dynasties ('Every family should pack up and be careful' is a true portrayal of the heyday of Kunqu Opera), this feature of Kunqu Opera is destined to be a minority art, and so is Kunqu Opera's' Chun Xue'. The formation of Peking Opera has only a history of more than 200 years, but the development of his "tune" art has reached a relatively extreme. Regardless of the beauty of life, purity and ugliness, all walks of life are very balanced and have their own schools, forming a situation of full bloom. Although the times have changed, Beijing Opera still remains in our hearts, and its long-lasting vocals (vocals) are still lingering. What is "vocal cavity", and "sound" is vocal cords; "Cavity" refers to the oral cavity. "Sound cavity" is to send sound out of the mouth through the continuous vibration of vocal cords. Everyone has a pair of vocal cords, but each person's vocal cords are different (fat and thin), so the timbre and effect are different. Because of this, there will be (like Mei, Shang, Cheng, Xun; Tan, Yu, Ma and Yang appeared. The "vocal cavity" of Beijing Opera is especially reflected in its "vocal" skills. I will name four famous artists and ten outstanding students. From ancient times to the present, it is difficult to train young actors in Beijing Opera and Kunqu Opera. There are three tigers in Beijing Opera: Jiang Miaoxiang, Yu Zhenfei and Ye Shenglan, and even less in Kunqu Opera, represented by Yu Zhenfei. Why can't Xiao Sheng be as talented as Qingyi, Laosheng and Huahua? In my opinion, this is closely related to the high standards and requirements of our niche business. Therefore, here I mainly want to talk about the "vocalization" of students in Beijing Opera and Kunqu Opera.
1. "Voice" of Peking Opera and Kunqu Opera Students
Why do I say that the "vocalization" of students in Beijing Opera and Kunqu Opera is of high standards and requirements? Because it is different from other walks of life, you see, Dan Jiao uses a "small voice", the old one uses a "big voice", the young one uses a "big voice and small voice", that is, Dan Jiao's "small voice" sounds old, and there are many kinds of young students (including young tail students, official students, towel students, poor students and so on. ), each one is like this. Let's analyze their vocal characteristics and methods first.
(A) the characteristics and methods of Peking Opera students' vocalization.
Peking Opera "Xiao Sheng" and Peking Opera "Dan Jiao" both use small voices to shape characters, so our ancestors created "Dragon Sound", "Phoenix Sound" and "Tiger Sound" on the basis of small voices to distinguish them from Dan Jiao. "Long Yin", or "Dragon Tune", is the source of Beijing Opera students' singing style. Mr. Xiao Changhua said: "When Pihuang Opera gradually took shape and became popular, there was a singing method called' Dragon Tune' among the students' singing methods. This kind of cavity is sung in a wide voice, with a tone close to that of old students and a high tone, which is somewhat similar to the singing method of Baby Life today. The so-called "dragon tune" means that when singing, it is like flowing clouds. Because the tone of "Dragon Tone" is very high, you can't stand it when singing in a wide tone. You have to base it on the whole chest. Qi jumped from' Dantian'; "Jaws" open, "inner mouth" open, these actions are basically carried out at the same time. The Sound of Phoenix is close to the timbre of Yu Dandan, but the singing method and energy are different. There are big and small voices mixed together. Mr. Yu Zhenfei said, "Mr. Jiang Miaoxiang learned Dan Jiao's singing style, and the important thing is' good'. Although his "doll tune" has absorbed a lot of Dan jiao cavity, it has been slightly biochemical. Although it is integrated into Dandan's cavity, the singing must still have masculine beauty. " The high place should soar into the sky and ring when it is bright. "Yin Feng is fluent, euphemistic and angular when singing; It must be accompanied by sound and sound. It is necessary to drive the breath with high-pitched emotions and actively cooperate with the flow of sound. Wrap the sound with breath to make it full and mellow; Rich and full, but full of emotion and three-dimensional effect. " Huyin is the most fundamental difference between Xiao Sheng and Dandan in singing. Changhua, an old Xiao Man, said, "I should sing with the voice of a tiger.". Tiger sound refers to a strong voice, with strong articulation and strong ups and downs of the cavity. From my personal experience, I think "indoor sound" should also be counted as "tiger sound" "Room sound" is a deep voice. It is a * * * sound from the "chest". In the bass area, the small voice relaxes and becomes lighter, making it sound unified with the midrange area. "Tiger sound" also comes from "chest", but it always runs through the bass, midrange and even treble areas. The song is magnificent and powerful. Of course, it is more supported by breath. Xiao Sheng must have a "tiger voice" when singing, and he must articulate forcefully from beginning to end. Mr. Xu Xiaoxiang, a well-known junior of the older generation, sang "Wine Supervision Order", and both "Huang Er Adagio" and "Xipi Original Edition" used "Tiger Tone" in their long passages. The structure and style of these vocals are almost the same as Danny's, but Xu Xiaoxiang sings like a tiger roaring and a dragon singing. Because of his good singing skills, it sounds convincing that he is a young man and will never misunderstand that he is an actress.
I think there are two kinds of "vocalization" of Peking Opera students. One is the combination of "dragon sound" and "tiger sound", supplemented by "phoenix sound" One is based on "Wen Sheng" such as Xu Xian and Liang Shanbo, with "Feng Yin" and "Long Yin" as the main ones, supplemented by "Tiger Yin". Of course, there are also "martial arts" such as Li Cunxiao, mainly martial arts figures. Here, I mainly want to talk about the first two. My Beijing opera is "Luoguan", which is a typical drama with the voice of both "dragon" and "tiger". From the beginning, it was a complete set of "Suona Huang Er", which had to be sung with the voice of the actor over the voice of Suona, and the so-called "Ga tune" was embodied here. This play shows the heroic spirit of sacrificing oneself for righteousness on the battlefield, so it is famous for its unpretentious singing style. The whole aria should be centered on vocalization and the nozzle should be powerful. Because the whole aria is very high, the voice requires "low opening and high walking" and "hanging" on it. Why did I say the voice should be "hung" on it? Because, when the sound is very high, it is easy to float empty, just like a kite with a broken line. So,' hang' on it and pull it like a line below. The higher the sound, the tighter the tension below. "Dragon sound" and "Tiger sound" can be fully played here. In order to learn this play and learn porcelain well, every morning before six o'clock, I' shout my voice' in the bamboo forest next to the playground of the runway school. My tutor, Mr. Bi, has a mellow voice and bright colors. He led me to shout together every day for more than two years, which benefited me a lot. The teacher asked me to imitate his voice and train with' I' and' Ah' or mixed notes'1351531'. The teacher sang once and followed me, and also used' breathing' to exercise the elasticity of breath. Require breath: short and powerful; Lower abdomen: tightening and expanding (feeling). As the name implies, "Wen" is a weak scholar, so his "voice" should not be too impulsive, and his "tiger voice" can be slightly restrained. Take Ye Shenglan's Biography of Liu Yin (Xipi original) as an example. In this aria, he sang Liang Shanbo's gentle and elegant praise of nature with the soft and sweet "Phoenix Voice". However, it is difficult to express the high-pitched voice with "Long Yin" in "I am like an arrow through my heart", "Xipi Small Guide" and "Xipi Sanban", but he can do it easily. Low-key, he also used "falling sound" and "crying sound" to express the characters, which made the characters have connotation and depth. This vocal training of Wen basically continues the method of Wu, but it is slightly different in characterization. We all know that falsetto has a good' yi' sound and a poor' ah' sound, so we should use' yi' and' yi! Malay-'It is very important to wait for the opening words to train the nozzle and opening sound.
(2) The characteristics and methods of students' vocalization in Kunqu Opera.
The vocalization of Kunqu students is mainly divided into "big voice", "small voice" and "middle (yang) tone". Yu Zhenfei, a master of Kunqu opera, once said, "When singing Kunqu songs, you must use different voices." . Most people who study music know that the middle and high notes above the D key' 3' should be sung with a "small voice" and the bass below the D key' 3' should be sung with a "big voice". "Middle voice" is "Yang tone", which is the transition between big and small voices. "Loud voice" refers to the original sound and the real sound. Soft and slow, it is easy to collapse when singing, revealing a hoarse and low throat. Therefore, we should hold it with confidence and make it stable and substantial. The "Qindiao" [Lazy Thrush] passage in "The Record of the Jade Hairpin" is a typical aria with a low tone, which undoubtedly tells Pan Bizheng's state of mind of living in seclusion as a nun and sleeping alone. The whole melody flows in the bass area, especially the sentence' When is the bright moon and the clouds are light', and the bass' 3' runs through, which is very strict with the actor's voice. "Whisper" is falsetto. The singing is fresh and euphemistic, flowing, beautiful and pleasant, while the voice of Kunqu opera is mostly in the middle and low range, so special emphasis is placed on: relax physically and mentally, hang your shoulders, and sigh while singing. Of course, the high-pitched areas are also very important, such as "The Palace of Eternal Life" [Xiaoyao III], "I only saw ladies-in-waiting" [Heaven Emperor], "The Dead Merchant", "Where are you" and so on. These high-pitched parts are very important in this play. When Tang saw the statue of Yang Guifei, it was the highest point to express his thoughts and regrets. It is not only the catharsis of emotions, but also the rendering of emotions. When singing, it is full of explosive force, and it needs to rely on the strong elasticity of abdominal muscles and diaphragm to make emotions explode instantly with the breath, which is also very common in Kunqu opera. "Alto" is a transitional sound between big and small voices, which is often called "Yang Tone" in Kunqu Opera. This kind of voice is neither Danny's sharp voice nor the broad voice of the old students. It is the unique transitional sound of the mutual penetration of Yin and Yang tones among the young students of Kunqu Opera, which is embodied in every tune of Kunqu Opera. The two beautiful notes'1212126' and'126' in the Peony Pavilion [Mountain Peach Blossom] are true voices: the breath should be lifted and held, and' 2' is a falsetto: the voice should be contained. In the palace of eternal life, the word "I am a widow" is correct, the note is "2", the word "I am a twin" is "2", and the note is also "2". They all put "Yang" on the sound of "2", which means that this "2" must be a combination of truth and falsehood. The' 2' in front of [Peach Blossom] is a falsetto, so when singing, you should first slide from the real voice in front to the falsetto; The' 2' at the back is the real voice, but when singing, it slides from the falsetto in front to the real voice. Yang tune is not easy to master, and the singing is firm and stiff; If you sing empty, you can't make a sound, which is no different from Danny. Therefore, I think this is the' true tone' and' false tone' in Kunqu opera, that is, the sound made by the relaxation of true voice and false voice. This' yang tune' is unique to Kunqu students and the most important symbol that distinguishes it from Kunqu.
I think there are only two kinds of "vocalization" of Kunqu students. One is "official students" represented by Tang, Wen Jian and Li Bai. And was endowed with the spirit of shaking the earth with the sound of Hong Zhong Road. One is with Liu Mengmei, Pan Bizheng and Qin Zhong. , mainly holding a fan, wearing pleats, with such a weak and swaying voice, giving it graceful gentleness. Cai Zhengren, a Kunqu performing artist, is known as the living "Tang Huangming", and his "Tang Huangming" has the style of a teacher (Yu Zhenfei). My "formal student" opening drama "Happy to Cry and Laugh" was taught by teacher Cai Zhengren. The teacher said:' Tang Huangming' is an emperor, and he should have a royal style. First of all, we must shape it from the sound, requiring the sound to be calm, heavy and rock-solid; Must have momentum and strength; Be like a clock. The teacher also said that in order to imitate Yu Zhenfei's voice, he ran to the river and shouted for two hours every day, and often hung his voice with Jinghu for several hours. The teacher taught us to practice with the sound of' a' or' ah'. Ah' is the opening sound. Just open your mouth slightly and keep hitting the vocal cords with your breath. Requirements: Stand loose and relax naturally; Chin slightly retracted, soft palate lifted; Slightly lift the corners of your mouth (smile) and lift the smiling muscles. Yue Meiti, a Kunqu performing artist, is a leader in the field of Kunqu Opera. The image of "towel student" in her works is vivid and charming. I have learned from my teacher such plays as Picking up a Painting, Stealing a Poetry, and Hugging the Lake. The teacher repeatedly stressed that the figure you represent is a young scholar and a handsome wit. In terms of voice, first of all, you should be young, straight and beautiful. How young? First of all, the voice must be elegant, not too loud, clear, pleasant, fresh and elegant, which requires enough breath to control the voice. Requirements: Shen, a little water; Every word is a pearl, and the sound cavity meets. The teacher asked us to practice breathing with laughter, from high to low, from short to high; Laugh quietly to the loud, and laugh quietly to the loud.
Second, the misunderstanding of "phonation" and scientific "phonation"
As we all know, the pursuit of "loud voice" is a common problem of many actors, for fear that others will not hear it. This "loud voice" sounds loud, but it doesn't go far and there is not enough metallic sound to spread. Let's listen to some old gentleman's records. Their "vocalization" is similar to "humming" in a low voice, but the tone is very high, just like a speech in life, except that it has a melody. This kind of "sounding" like talking is "slacking off", which some actors don't have at present. It is supported by breath, and breath is the power and source of sound. Without breathing, there is no sound. Anyone, whether consciously or unconsciously, must use the lungs to transmit breathing through the trachea. So whether intentionally or unintentionally, there are more or less * * * sounds, and the difference is only the quality of * * * sounds. However, the quality of singing depends on how the breath and sound are mixed and processed. Let's talk about the misunderstanding of "sounding" first.
(A) the misunderstanding of "sound"
At present, some actors (students) have a very common problem of "speaking loudly", thinking that the louder the voice, the better. In fact, it is not, which will easily lead to excessive tension of vocal cords and throat muscles, too large air pressure thrust, resulting in too solid and stiff voice, poor mobility, lack of elasticity and femininity. Using this habit to "sound" for a long time can easily lead to various lesions of vocal cords, resulting in the direct consequences of "bell collapse" and "vocal cords" Now some actors "collapse" at the age of forty or fifty, which is the result of their improper use of voice. This is one of the misunderstandings, and it is also our own misunderstanding. Yu Zhenfei is the "leading figure" of Kunqu Opera. He absorbed and borrowed the voice of Beijing Opera, making it feel at home in Beijing Opera and Kunqu Opera. When he was in his eighties, his voice was still so loud and metallic. Of course, this is inseparable from his "vocal" learning. On the other hand, there are misunderstandings in current drama education. What is the correct "sound"? I believe that every teacher can tell a set of theories related to "vocalization". Different people have different opinions about whether it is correct or not. This is the present situation of drama education, and there is no "effective" method. Most of these teachers have not received systematic western pronunciation training, but they are teaching and educating people in this way that he is also exploring and absorbing. This method may be suitable for yourself, but it is not suitable for everyone. Simply asking students to' open, open and open again', endless opening can only make the voice empty and weak, lack of color and brightness, and it is easy to cause fatigue and numbness of vocal cords. This happens all the time. I "heard it from hearsay", and some key training objects in middle schools ended up singing their voices. On the contrary, those students who were once put on hold and were not optimistic "survived" and finally "broke out". To put it mildly, it is the result of "transposition" Think about it carefully, isn't it the teacher's failure in teaching? I am lucky to be exposed to Peking Opera and Kunqu Opera at the same time, but at the same time, I also tasted the pain of the "ghost gate" of sound. Because I have the foundation of bel canto, it was easy to get started when I first came into contact with Beijing Opera and Kunqu Opera. That's because I don't have to think too much about anything else. I just need to make my voice sound good. With the further understanding of Beijing Opera and Kunqu Opera, problems have arisen. How to deal with the relationship between Beijing opera, Kunqu opera and western vocal music? How to coordinate the breath among the three? I was at a loss, at a loss, so that I lost confidence and struggled for a long time, which was unsustainable. Fortunately, I realized the seriousness of the problem in time. Although my voice is still recovering, I hope to provide my experience to everyone, and I hope that everyone will take as few detours as possible.
(B) about the "voice" of science
There is an old Italian saying about the "sounding" of science: "The art of singing is to study breathing". The ancients in China also highly summarized: "Angry people sound handsome; Qi is the root of sound, just like the root of a tree; Pneumatic sound; To sing well, you must first adjust your breath. It can be seen that from ancient times to the present, from the inside out, there is a definite conclusion about scientific "vocalization", and that is the importance of breathing to a singer. First, let's look at what is the correct breathing state.
1. Correct breathing and application
Breathing is usually called "vomiting" in Tai Chi. Vomiting is exhaling, and breathing is inhaling. The state of inhalation: First of all, the body posture should be correct. No matter sitting or standing, you should keep your upper body straight and steady, stand upright naturally, hold your chest upright, relax your shoulders, neck, chin, jaw, tongue and other non-respiratory organs, so that the respiratory organs can work naturally. The mouth is slightly open, and the mouth and nose are used together to allow airflow to enter the lungs at the same time. At the same time, the ribs naturally open like a fan, the chest, abdomen and waistline expand outward, the breath feels slowly sinking, and the diaphragm is pressed down, but the lower abdomen should be slightly tightened to support the diaphragm to avoid excessive sagging. Exhale state: In order to make a lasting "sound" and master and dominate the change of sound, it is necessary to have a relatively relaxed expiratory state and a uniform and controllable expiratory ability. Always keep the state when inhaling, at the same time gradually tighten the lower abdomen, hold up the chest inward and upward, and form the antagonistic force between the inspiratory muscle group and the expiratory muscle group; Then, with the help of the contraction force of diaphragm and lumbosacral muscle, the breath is concentrated in the center of the body to form an air column, and the breath is sent out through the respiratory tract in a controlled and controlled manner. Of course, this state is more difficult for the actors of the national drama (Jingkun Xiao Sheng) because it is a kind of dance (martial arts); The comprehensive art of paying equal attention to singing, reading, doing and playing. Therefore, the vocal state of our opera has been refined to a higher level: it must be' tight inside and loose outside', which is more abstract. You must meditate and' loosen' all the organs outside the body, but there is an air flow inside the body, which fills every corner of the body; More like tai chi. This airflow permeates from the inside out, forming a powerful magnetic field around your body. Only in this way can your voice not be disturbed by the outside world.
2. The importance of breathing for "vocalization"
As early as 1000 years ago, in Miscellaneous Notes of Yuefu in Tang Duanan Festival, the singing atmosphere was summarized by medicine: "A good singer must first adjust his breath, and the words come out from the navel to the throat, that is, the sound of falling resistance. If he has the skills, he can stop the clouds from ringing." Before foreign "Western Vocal Music" was introduced to China, looking at some of our predecessors, they all had "amazing" accomplishments in vocal music art, so I won't go into details about other professions. Xiao Sheng's trade is thankless, requiring "five children to enter the subject" (voice, feather, fan, pleat, boots), and the voice ranks first. Ye Shenglan is an outstanding representative in the history of Peking Opera. His voice peaked. Some foreign experts have praised his voice as China's classical singing. I think his voice is' earth-shattering and makes people cry'. His breath is really touching. "More than a thousand hairs, less than a millimeter." In 1970s and 1980s, "western vocalization" became popular, and China traditional operas began to absorb this foreign vocal nutrition. Ye Shaolan is the person I want to talk about most. He is Ye Shenglan's son. He has excellent conditions in all aspects, except that he has no voice, so that he can't sing all the time. It was the scientific method that recreated him. In those hard days, he had to arrive at the backstage two hours earlier than others to shout and practice his breath to ensure the smooth progress of each performance. Shi Xiaomei is one of the four pupils in Kunqu Opera today. Her interpretation of Kunqu Opera has her unique side (paying special attention to the ability of breath to control sound) and enjoys the nickname of "Yun Qi" students. Her breath and voice are natural and smooth, and her high and low voices are used freely; Her breath is deep and natural, and her throat is not hard when singing, which is a typical combination of breath and voice. The use of this kind of breathing and spitting is directly related to your ability to control sound.
3. How to seek the scientific "voice"
How to seek the "voice" of science? The most important thing is to reduce the pursuit of "loud voice" and achieve beautiful results with "slack" voice. How can I get a "relaxed" voice? He studied under Professor Tan Bingruo, a vocal theory educator from Shanghai Conservatory of Music, and studied the Italian orthodox western opera "Sound". Professor Tan Bingruo compares sound to a building, that is, the building of sound. He said: Beautiful voice is obtained through "relaxation". As a building, sound must have beams, columns and foundations. Those theories are invisible and intangible. What we want is something that can be seen and touched and can really change our voice conditions. He said: where do we use the power of singing? Try to reduce the strength of the face to zero, using only the strength of the forehead. Requirements: "Chin attached to neck, throat down, facial features relaxed, indomitable spirit". Use the word' wow' to train. First, use the word' w' to send the sound to the front. The front post becomes an' A' opening tone, and the voice is lifted to the front of the eyebrows to form a cover. This is the so-called beam. With columns and beams, of course, there must be no foundation. Below the throat is our foundation. The deeper the foundation, the stronger the building. I think it is similar to the "vocalization" of our traditional opera (Xiao Sheng): the chin sticks to the neck, and we also talk about the neck, which helps to erect the pharyngeal tube; Put your throat down and take a deep breath (yawn). People who sing well and breathe smoothly, after all, keep their voices in their throats; We need to relax our five senses and keep the depth of our smile (a little) so as not to bring tension to the facial muscles, which will affect the emotions you want to express; To stand tall is to ask us to go up and down smoothly and breathe smoothly. Our opera requires that our feet stick to the ground and our breath falls below the ground; Holding the sky above your head (feeling), you are so angry. Breath also depends on the depth of foundation and the level of our voice. We use the tension of breathing to get the sound we need. My past experience tells me that everyone's "timbre" is different. Don't imitate someone's timbre. The more you imitate, the more you lose the essence of sound, and it will always be a substitute for others. Here, I would like to strongly appeal: before you open your mouth, turn off your throat to block the air and hold your breath, and the vocal cords will quickly adjust their state, so that the moment when the air reaches the glottis coincides with the time when the vocal cords are ready to sound. This way of sounding can promote the maximum conversion of air into sound energy, which is labor-saving and can make a round and loud sound. In order to meet the requirements, we must persistently and repeatedly exercise the elasticity of the diaphragm and the control ability of the organic cooperation between the diaphragm and the vocal cords. Therefore, whether it is the "vocalization" of Peking Opera or Kunqu Opera, or the "vocalization" of the West, as long as you "relax" and as long as your voice and breath are synchronized, you are bound to make a relatively beautiful and natural sound. Of course, it is more important to strengthen the construction of teachers. I am very happy to share my feelings with you, and I hope you will take fewer detours on the road of artistic "sounding". This is the original intention of writing this paper. Maybe there's something wrong. I hope you can correct me.