1.

Technology and Art

Technology and art, namely voice and emotion, have always been two closely connected parts of singing. Vocalization, articulation, articulation and emotional expression constitute the whole of singing, and they are inseparable. The human voice in singing uses the whole body as an instrument to perform singing. It cannot be accomplished solely by relying on the voice, breath or humming. Singing is a performing art that involves the whole body, not only the whole body. Participate and include your soul. Singing should be an exciting and perfect art in which various factors are integrated into a whole. That is to say, only with the combination of voice and emotion, and the combination of skills, can singing reach a touching state and produce refreshing artistic results. Sound and emotion are dialectical unity and complement each other. Regardless of whether they are professional singers or amateurs, in daily training, they should strengthen their awareness of overall singing, so that singing and emotional expression can be performed at the same time, so that sounds, words, and emotions become one, and develop the habit of singing with the heart.

2.

Selfless singing

To move the audience when singing, you must first put yourself in an excited and excited singing state. "True and false" is a specific method of artistic expression. "False" is to express the "truth of art", and "fake" is the artistic technique to express "truth". Only when the truth enters and the fake comes out without losing the truth, can the authenticity of art and the authenticity of expression be unified, and the powerful role of artistic infection be exerted. Therefore, when we sing, we must grasp the relationship between the two and express the art appropriately. In normal times, we find that there are still some people who are highly nervous when singing, fearful of wolves and tigers behind, and full of selfish thoughts. In such a singing state, it is absolutely impossible to sing well, let alone move the audience. Therefore, the "selfless singing" we are talking about requires the singer to throw away all ideological or vocal baggage, eliminate all tension factors, and enter into singing in a state of passion and relaxation. You must know that only emotion is achieved. Only by liberation can you get natural and comfortable sound effects and more perfect emotional expression. The art of singing should be "sound and music".

3.

Artistic processing

After you have a true feeling for the song, you should have a comprehensive overall idea for the song processing, which includes the entire Issues such as song speed, intensity, volume, timbre, accompaniment, etc. Of course, these assumptions are not blind or arbitrary. The ups and downs of the song's structure, body, mode, melody, rhythm, harmony, etc. give the singer a general inspiration for artistic expression. They can guide the direction of the singer's inner emotions. Find the climax of the whole song and the layers of the song. In singing, we must especially grasp the contrast of art, such as the difference between the narrative and singing nature of a song, the changes in strength, weakness, and weight of a song. The most important thing is to find the high point (climax) of the song. and lows. Generally speaking, to highlight the high points, the low points must be lowered, and there must be a process of foreshadowing. Otherwise, the artistic effect cannot be achieved by continuously getting stronger or weaker. When processing a song, the finishing touches are often some key sentences and words. The key words and phrases must be emphasized in pronunciation and emotion. We must work hard on each sentence word by word, or even on each passing sound, practice singing repeatedly, carefully ponder, and find the most suitable expression method. That is to say, the singer must repeatedly sing and overcome difficulties according to his own overall design, until his processing becomes the embodiment of true feelings.

4.

The embodiment of charm

The secondary creation of singing is a complex labor process, and it has many requirements for the singer. A good singer can not only accurately understand and convey the artistic conception of the song, but also through his or her own re-creation, discover some potential things in the song that even the composer did not expect. For a work, the composer cannot provide the 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 must work hard on the accents outside the notes (the accent is also the charm), and use them just right. After you have mastered singing a new song, you will naturally add some other sounds to the melody of the tone according to the characteristics of the language and the needs of emotion, making it into ornamentation, vibrato, portamento, appliqué, etc. It will be more moving and natural when it rises, and it will have more flavor and beauty. This is the new vitality that charm brings to the work.

5.

Mastery of style

The style of the work or the style of the music is well or poorly mastered, and the singing effect is very different. We often listen to some solo concert performances. Some people have very beautiful voices and superb vocal skills. However, the whole concert sounds good in terms of sound and intensity, from Chinese folk songs to European classical art songs. Regardless of the charm, it is always the same, the same taste, which makes people forget it once they hear it. It lacks the resonance of the soul and the aftertaste of art. What's more, it lacks artistic accomplishment and cultural accomplishment, and combines various styles. The songs are mixed together, making them have southern accents and northern accents, which are completely different from the original works. The main reason for these phenomena is that the singers did not conduct a detailed analysis and understanding of the era style, national style, regional style, personal style, etc. of the work before singing, and failed to appropriately express the work with their own singing skills. style. Therefore, if the singer wants to accurately express the connotation of the work, he must also study the style of the work (that is, the singing style) in advance.

Of course, the style of music is more abstract than its other sister arts. Music is an invisible art of time, while painting, sculpture, architecture, etc. are all tangible art of space, so their styles are often easier to understand at a glance than music. The depth of a singer's literary accomplishment will directly affect his understanding of the work and grasp of the style, because the formation of style is mainly based on the most profound understanding. A mature singer can vividly express the composer's creative intention and the style and characteristics of the work, and can make the entire meaning of the music "clear" to the audience.

6.

The use of sound

When we sing a work, what kind of sound should we use to match the ideological content and emotion of the work? This is Questions worthy of research and design. As a singer, in addition to having a beautiful voice, the ability to control various sounds and timbre changes is particularly important. For example, when facing a march, you should choose a majestic voice, and when facing a waltz, it should be bright, gorgeous, and light. When facing a lullaby, you need to use a soft and sweet voice, etc. There is also a process of imagining the sound here. For example, for a lyrical and soft piece of music, you can imagine the sound as a sound control such as "gentle gauze floating in the breeze" or "leaves falling gently on the ground"; Another example is when singing a soft and light song, the sound can be compared to "transparent dewdrops", "raindrops on a spring night", etc. In short, we must be good at mobilizing the most appropriate sound in the vocal "library" to sing the auditory effect required by the content of the song and express the work appropriately.

7.

Imagination of artistic conception

Imagination of artistic conception is to try to inspire the imagination of music. The singer should be based on the content and musical image of the song. , turn into moving pictures in your mind, turning yourself into a writer, a poet, and the protagonist of the work. In other words, it is to be immersed in the scene like a dramatic actor entering the character. If you conceive the basic mood and artistic conception of a song very concretely, then it will be real and vivid when you express it. Imagination and artistic conception will quickly help you establish the correct music image or the image of the protagonist of the song. The image of the protagonist of the song is complete and unified, and the theme of the song will be clear, so that you can achieve true feelings. Of course, a singer's ability to interpret music is not a one-day achievement. It is an accumulation of life, memory, and emotion. The more this accumulation, the richer it is, and the more active and rich the "inspiration" is. Therefore, as a singer, we should always use our eyes and ears to collect and listen to various pictures and sounds of life, to feel life, thereby enhancing our ability to understand and imagine life and characters, and to gain a deeper understanding of the connotation of the work.

8.

Understanding of connotation

The so-called connotation mainly refers to the inner meaning of the work, that is, the thoughts and feelings. Understanding the connotation of the work is the foundation of singing. When you get a song, don't rush to sing the score first. Instead, recite the lyrics several times to understand the background, specific environment, thoughts and feelings of the protagonist. Whether a song is long or short, it embodies the composer's strong feelings. The composer's deep feelings are hidden in every note, and singers need to carefully explore and understand them. The deeper the understanding of the work, the deeper the feeling, and the more pure and perfect the expression when singing. An actor or singer's literary accomplishment will directly affect his understanding of the connotation of the work. Many people who learn to sing tend to talk about singing performance purely in terms of vocal skills, so their daily exposure is relatively narrow. They don’t read novels or paintings, they don’t read poetry, they don’t listen to music, and they don’t even read newspapers often. If you are not open-minded and knowledgeable, you will not be able to sing with emotion if you learn to sing like this. You must know whether you have a deep understanding of the connotation of the work, the results will be very different, because only on the basis of understanding the work, it is possible to express true feelings.