The reason why all the outstanding singers in the world can fascinate the audience and get warm welcome and love from the public is that their songs accurately and vividly express their singing content and real feelings, arouse the audience's inner feelings and give them enjoyment and emotional infection. There is no doubt that correct vocal methods and comprehensive singing skills are indispensable conditions for a successful singer, because without correct vocal methods and singing skills, there will be no artistic expression. Just like we have to have a bridge or ferry to cross the river. But even this would not be enough The famous German soprano Hampel said, "If someone asks me what is the meaning of singing art? I won't explain it from the perspective of sound skills. What I want to say is the ability to move the audience. If the singer just sings the voice, then he is only a mechanic at best. " How can we have the ability to "move the audience"? It depends on the artistic handling of singing. As a singer, we should pay attention to the following links in the process of second creation of songs.
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 rush to sing it, but recite the lyrics several times to understand the content of the lyrics. Grasp the emotional tone contained in the lyrics, whether it is sadness or joy, pain or joy, and carefully appreciate the context and profound connotation of emotional development and change. In order to understand the background, specific environment and thoughts and feelings of the protagonist.
The art of singing is that the singer conveys his understanding of lyrics and music with beautiful songs. To accurately and profoundly express the connotation of singing, we must first carefully study the music and lyrics of songs. Music is the soul of singing. In the process of reading music, we should repeatedly understand the emotional characteristics of music, appreciate the melody beauty of song music and understand the artistic conception of song music. A song is long or short, which reflects the composer's strong feelings. The music written by the composer seems to be silent and static, but it records complex artistic skills, and each note also contains the composer's profound friendship. Singers should explore these rich emotional factors in the literary (lyrics) language modeling and musical melody ups and downs of songs, master the style and tone of songs, arouse our imagination, develop our own musical thinking, stimulate our inner singing enthusiasm, and make our songs fully express their inner feelings, thus presenting a complete musical image artistically. The deeper the understanding of the work, the deeper the feeling, and the purer and more perfect the expression when singing. The Foreign Music Reference translated by Mr. Li Yaolun once included a passage by Seiji Ozawa, a world-famous conductor: "The symbol of music score is sadness, but there is some sadness." What kind of sadness? Inside, gloomy, or just sad? Writing music doesn't mean I have to judge for myself. "An accomplished artist always begins with a careful study of his own works, carefully pondering and repeatedly scrutinizing the author's original feelings, so as to accurately convey and improve the reproducibility of his works. 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, grasp the emotional tone.
To sing a song, we must first make a thorough and detailed analysis of the work, understand the background of the work, analyze the expression intention prompted by the author in the song, correctly grasp the basic idea of the work, and then use various expression techniques to handle the singing. It is very important to put yourself in the position of the characters' thoughts and feelings in order to accurately express the content of singing. For example, some singers can put themselves in the "Baby" sung in Indonesia, which reflects their feelings for singing, accurately expresses the innocent feelings of a young wife who misses her husband who is fighting guerrilla warfare in the front line, expresses her belief that the revolutionary war will win, and also depicts the deep care of the mother for her children. However, some singers break away from the specific designated scenes and emotional expressions, blindly show off the so-called gentle, smooth and charming voice skills, and even distort the ideological significance of songs and the healthy mood of singing heroes. Similarly, there was a similar situation when singing the song "Night at the Port". If we can't accurately grasp the ideological realm of naval soldiers and pursue tenderness and dreams, we will sing a healthy lyric poem of naval soldiers into a lullaby with poor mood, which greatly distorts the image of the protagonist. It can be seen that "emotion"-emotion is not allowed, and "tone"-tune is also distorted, so the theme of the tune naturally cannot be accurately expressed.
With the true feelings of singing, we should have a comprehensive overall thinking on singing, including the speed, intensity, volume, timbre and accompaniment of the whole singing. Of course, these ideas are not blind or arbitrary. The structure, style and mode of singing 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, it is especially necessary to 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 singing. 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 focus on pronunciation and emotion, and work hard sentence by sentence, even a 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.
Third, the handling of the relationship between sound and emotion.
Singing a song or an aria should achieve the effect of both sound and emotion. After mastering the musical context and paragraph level, we should carry out a comprehensive vocal cavity design according to the needs of song theme and image expression. The so-called "planning layout" is to use all the means of organic combination of sound and emotion to lay out the sound cavity. The art of traditional Chinese opera vocal music has many successful experiences in this respect, which is worth learning. For example, a tactic in Sichuan Opera says, "Be careful when opening the tune, get the gist of the tune, be accurate in the tune, not floating or floating, and see stability in the accuracy." The so-called "open examination" means that before singing, we should make an in-depth examination and analysis of what we are singing, from part to whole, from word to cavity, from word to cavity, from word meaning to emotion, from tone to situation, from image to theme, from scene to artistic conception, from structure to style. In short, we should go back and forth, inside and out, ponder, savor and scrutinize. This kind of examination and analysis must be cautious, in fact, it is a process that singers gradually experience and feel. The so-called "line cavity essentials" and "introduction" are to highlight the key points, such as * * * sound, breath, articulation between mouth and line cavity, the intensity of articulation, the level of cadence, speed and ups and downs. To be harmonious and moderate, to lead the center of gravity, to add fuel to the flames, to follow the trend. The so-called "accurate pronunciation" means "don't panic if you are accurate, don't worry if you are accurate, and don't catch a cold if you are accurate." It is required that the combination of words and cavities is highly accurate in order to better express feelings and achieve "no drifting, no drifting, accurate and stable." Full voice, full of affection. Pay attention to the art of vocal music: sing first with your mind, become a cavity in your chest, and be full of charm in one go. This is because the temporal auditory art cannot pause and rest. If the creative significance and ideological theme of the voice are not clear before singing, it is impossible to achieve the artistic effect of verve in any case, and of course it is also impossible to achieve the realm of "very sonorous" and "three days around the beam". Home for civil servants:
The lyricism of singing or the emotional expression of vocal music art is the core of vocal music art creation, because the artistic charm and aesthetic effect of vocal music depend on the emotional expression of vocal music. The combination of sound and emotion, expressing feelings by sound, is the perfect combination of feelings as the basis of sound expression, and it is also the artistic processing skill of vocal cavity modeling. Without accurate basis and vivid emotional expression, it is impossible to complete the creative task of vocal music art. Therefore, "passionate singing can be called art". Obviously, if vocal music art loses its emotional function and expressive force, it is equivalent to losing its soul. Only when "sound" and "emotion" are combined and unified, complement each other and complement each other, can real artistic creation be realized.