Master thesis on music and vocal music 1 on music aesthetics in vocal music performance
For music, music aesthetics is the most important foundation. Music aesthetics is the cross product of music and aesthetics, and it is viewed from an aesthetic point of view. In vocal music performance, music aesthetics permeates in various aspects such as work handling, performance skills and emotional expression. Therefore, it is of great significance to expound music aesthetics in vocal performance.
Keywords: vocal performance; Music aesthetics; function
order
Music aesthetics is the most important foundation and guiding principle in vocal performance. Performers need to have good aesthetic consciousness and creativity when performing vocal music, so as to reflect their skillful skills and performing arts. In addition, through music aesthetics, the characteristics and styles of vocal music works can be interpreted from a unique perspective and recognized by the audience. Therefore, music aesthetics plays a very important role in vocal performance.
1. Overview of Music Aesthetics
Music aesthetics is an important branch of aesthetics, a combination of music and aesthetics, and an important basic theoretical discipline of music. The essence of music aesthetics is to study the beauty of music, including the relationship between music form, music characteristics, human imagination, emotion, perception and music. Music aesthetics is a social science, which explores music art through rational methods. Music aesthetics covers a wide range, and research results in social science, natural science and other fields can explore music forms. The application of music aesthetics can greatly promote the development of music art and improve the appreciation value of music art.
2. Music aesthetics plays an important role in vocal performance.
The function of music aesthetics in vocal performance is self-evident. First of all, musical aesthetics is the cornerstone of vocal performance. Vocal performance is not only the embodiment of technology, but more importantly, it shows the connotation of vocal works, which is the essence of music. In vocal music performance, the most important thing is to express the composer's feelings, express the intention and thoughts conveyed by the works, and at the same time, the performers need to express their understanding and feelings about the works in order to obtain good performance results. Through the application of music aesthetics, music creation in the process of vocal music performance can be realized, and the basic forms of vocal music such as rhythm, pitch, interval and timbre can be reflected from the aesthetic characteristics of music aesthetics. In the specific vocal performance, there are often high requirements for the aesthetic appreciation of the performers. Performers not only need to appreciate the work itself, but also need to interpret the work in combination with their own feelings. It can be said that vocal performance is an aesthetic activity that effectively combines the performer's internal feelings and external perceptions, which requires the use of musical aesthetics to enhance the aesthetic value of vocal performance, thus improving the appreciation of vocal performance. Therefore, music aesthetics plays a very important role in vocal performance.
3. Music Aesthetics in Vocal Music Performance
In vocal music performance, performers will form aesthetic objects in the process of interacting with the audience. For performers, that is, the main body of vocal performance, there are two kinds of performances: singing and external forms. The performer's performance is the basis of forming aesthetic objects, while the audience's vision, hearing and consciousness are the basis of forming aesthetic consciousness. Therefore, when analyzing the musical aesthetics in vocal music performance, it is necessary to carry out it from two aspects: the subject and the audience.
3. 1 Aesthetic Consciousness of Performers in Vocal Performance
For vocal music performance, it is a concrete process in itself, and its content is the external embodiment of the performer's inner activities. Therefore, in the actual performance, the performer is responsible for the second creation of vocal music works, which is the bridge between the first creation of vocal music works (composer's creation) and the third creation of vocal music works (audience's appreciation of vocal music works). Performers not only need to express the connotation of the work itself, but also need to meet the aesthetic needs of the audience. In vocal music performance, it is realized through the combination of vision and hearing. Vocal performance itself is the external embodiment of the performer's personal aesthetic feeling. Therefore, the musical aesthetics in vocal music performance is closely related to the aesthetic consciousness of performers.
This situation is often found in vocal music performances. Even if different performers sing the same song, the interpretation effect is quite different. The main reason is that there are some differences in the musical and cultural qualities of performers, which leads to some deviations in their aesthetic concepts and ultimately leads to different singing effects. When a composer creates a work, he just writes soulless notes on the score. The emotion and connotation of the work need the performer's own experience to give the work vitality. With the development of science and technology, people still like live performances. The main reason is that people appreciate the creative performance of a single performer, which is permeated with the wisdom and emotion of the performer, which is irreplaceable by off-site performance.
People generally like music, mainly because music performances, created by different performers, will produce different effects and cause different audiences to sing. There are many wonderful performances, which will exceed the composer's expectations and make the emotion and connotation of the works more distinct. Therefore, the performer's aesthetic consciousness is an important embodiment of music aesthetics in vocal music performance and an important link to realize the second creation of vocal music works.
3.2 Audience's Aesthetic Consciousness in Vocal Performance
Every musical work has its own historical style, and vocal music works performed in different periods have different effects. At the same time, music works in different periods are handled in different ways in the hands of different players. When performing vocal music, many performers will inject their own understanding, style and emotion into their works on the basis of their first creation, thus producing different aesthetic values. However, the performer's aesthetics can't represent the audience's aesthetics, and the performer must interpret his works according to his own times, which is music aesthetics. Respect the historical background of the work and perform it with the eyes of contemporary people? . Only by analyzing the works from the perspective of contemporary people and finding out the new elements that meet the requirements of the times can we satisfy the audience's aesthetic taste, realize the combination of contemporary and historical works and obtain the best vocal performance effect.
For audiences of different nationalities, there are great differences in their musical aesthetic concepts, which also leads to great differences in melody, rhythm, scale, style and structure of works in current vocal music performances. For example, the music of the Latin nation pays attention to enthusiasm and has a certain frivolous atmosphere, which is unacceptable to many listeners, but it is the most beautiful music for the Latin nation; For Germanic music, its style is elegant and implicit, which contains profound philosophical meaning; Hip-hop music is full of optimism and positive spirit. Therefore, vocal music performance must start from the audience's point of view and combine the audience's aesthetic consciousness to deduce works that meet the audience's aesthetic requirements, so as to gain the audience's recognition and obtain the expected performance effect.
In vocal performance, love? It is a very important link and an important element to stimulate the imagination of the audience. Excellent performers will inject their true feelings into their works, which will arouse the audience's voices, awaken the audience's deepest feelings and leave the audience with the deepest impression. Therefore, for the music aesthetics in vocal music performance, emotional experience is a very important link and an element that can best meet the aesthetic needs of the audience. When performing vocal music, performers must pay attention to their own emotional expression, rediscover and recreate the works, tap every emotional element of the works, give them new vitality, and use their excellent emotional expression ability to meet the aesthetic needs of the audience. Many times, the emotional input of performers is too false, which often causes the audience's disgust. Therefore, vocal performance must attach importance to real emotional input.
summary
Vocal performance itself is an effective combination of art and music, giving people an artistic beauty of perfect combination of emotion and reason. Through music aesthetics, vocal performance can be deeply modified and its artistic value can be improved. Therefore, we must pay full attention to the important role of music aesthetics in vocal music performance, combine excellent performance skills with real emotional experience, deduce works that meet the aesthetic needs of the audience, and give the audience a spiritual enjoyment of artistic beauty.
References:
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[2] Zhang Shijie. On the Significance of Modern Music Aesthetics Research to Music Performance [J]. Music Time and Space, 20 13, (12):131-132.
[3] Cheng Xin. On the Function of Music Aesthetics in Music Performance Practice [J]. Beauty and Times? City, 20 13, (08):112-113.
[4] Ma Liping. Fan Lingling's Analysis of the Relationship between Vocal Music Performance and Music Aesthetics [J]. Youth and Society: Next, 20 13, (1 1): 86-87.
[5] Qiu Jingjing. On Emotional Expression in Vocal Music [J]. Grand Stage, 20 14, (09): 8 1-83.
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