Singing is the art of vocal music. Good singing should have beautiful and melodious sounds, sincere and moving emotions, accurate language and image, free use of techniques, and a gripping and perfect art that integrates multiple factors into a whole. In other words, only by combining skills and combining voice and emotion can singing reach a touching state and produce a refreshing artistic effect. 1. The dialectical relationship between technique and art, voice and emotion in singing. Technique and art, voice and emotion have always been two closely connected parts of singing. Vocal skills and the expression of song emotion and content constitute the whole of singing. The two are inseparable. Good singing not only has good vocal techniques and skills, but more importantly, the expression of emotional content must be good. Vocal music is an art of hearing. It is sung for people to listen to. If the work is well written, it depends on the singer's superb secondary creation to arouse a strong response from the audience. Scientifically and dialectically dealing with the relationship between skills and art, voice and emotion, and in-depth exploration of the secondary creation of singing art are obviously important topics for improving and developing vocal art. Regarding these two, there are many discussions on singing in ancient and modern times at home and abroad. In the long history of art development, there have been different opinions on "singing voice" and "singing emotion". During the two hundred years when castrati singers were popular in Europe in the 17th and 18th centuries, the aesthetic principle of vocal music was "vocalism." Although Gluck's opera reform later passed, the "vocabulism" viewpoint still had a profound impact on European vocal art. Until the 19th century, when Italian opera singing had reached the stage of the "New Bel Canto School", someone asked Rossini, the famous opera writer at the time, what conditions were needed to sing an opera. Rossini replied: "The first is the voice. The second is the voice, and the third is the voice. "With the development of singing art, there seem to be not many people who hold this view in theory, but in singing practice, this kind of singing emphasizes technology over emotion and artistic expression. However, there are still many people. Of course, some singers cannot free their singing consciousness from the concept of sound due to immature voice cultivation, incomplete technique, or there are certain burdens and obstacles in vocalization. This is a different matter. The problem is that some singers or vocal music educators believe that as long as the voice is perfect, there is no such thing as a ruthless voice. Some people also think that Shengwei music conveys feelings, and there are no ruthless music, ruthless sounds and less-emotional sounds. In these people's singing concepts and singing thinking, the main thing is the voice. In fact, they themselves have regarded the voice as a form. During singing, they are nervous for the voice and tremble for the high notes. Their thinking about singing consciousness stays on the roundness of the voice, the support of the breath, the unity of the vocal area, In terms of the use of singing, etc., their singing is tangible, soulless, ruthless, and even stiff and mechanical in the hearing of the audience. Their external tension and internal emptiness will inevitably lead to artistic expression. of paleness and superficiality. The art of singing requires beautiful voices and superb skills. These are very important conditions and are the material foundation of this art. Therefore, how to improve vocal skills, strengthen and beautify the voice is what every vocal worker strives to pursue. However, as an art, singing must deeply embody emotions and content through the sound, so as to influence the audience and "heart." "Singing", "singing love" and "singing God" all refer to singing the deepest emotions of music. From the perspective of the infectious effect of singing art on people, singing must first "enter into people" before it can "transform into people". If your singing wants to "enter people", it must be "connected with people"; if your singing wants to "transform people", it must make people "fascinated", that is, "the sound enters and responds, and the emotions connect and feel." The so-called "fascination" should be another more profound ideological state reached by the singer and the audience after they "connect with each other", that is, the profound feeling of "the same voice responds and the same spirit seeks each other". This is not only the law of the social role of the art of singing, but also the law of objective appreciation of music beauty. In this sense, it is of course justifiable to emphasize singing emotions in people's vocal art. Most of my country's traditional vocal arts, such as opera and folk art singers, are developed based on the aesthetic principles of realism. There is emotion and sound. Most of the songs and jokes sung by each singer have storylines. Especially in rap, the singing component is less than in ordinary singing. Therefore, it is particularly important to pay attention to emotion. This is a nation that should be inherited by modern vocal workers in our country. One of the fine traditions of vocal art. Of course, this does not mean that there were no "vocalists" in ancient my country. Bai Yi, a poet of the Tang Dynasty, said in a poem: "The ancients sang and sang about love, but today's people only sing about love." This expresses the poet's attitude towards some people who sing only about love. A sigh without emotion. 2. The correct grasp and specific requirements of the two in vocal music teaching. When it comes to vocal music teaching, the first thing that comes to everyone’s mind is the training of vocal skills. Yes, voice training plays a very important role in vocal music teaching. But this is not all, nor is it the ultimate goal. The most important purpose of vocal training is to enable students to sing beautiful songs with beautiful voices. Professor Shi Weiya gave a high-level summary of the evaluation criteria for singing level in the "Vocal Music Teaching Method" using the words "correct, standardized, and moving". The "correct" or "standard" here is still in the immature stage of student learning. Only by adding "moving" to the "correct" and "standard" will he have entered the stage of artistic maturity.

It can be said that the purpose of "correctness and specifications" is to "move people", but is it necessary to not "move people" in the process of reaching the standard of "correctness and specifications"? No, in fact, meeting the first two requirements means that The song has reached the "moving" standard to a certain extent, and as long as teachers pay attention to guidance in teaching, students at any stage, even in the primary stage of learning to sing, can let their emotions participate in the experience to varying degrees and express them through their voices. An emotional state comes. For example, when using a descending scale of fifths as a vocal training piece, in addition to the requirements for breathing, voice position, etc., the teacher must also ask the students to sing more "musically" and prompt the students to imagine "I "I'm so happy" and "I'm so happy" make the students' voices sound musical. To a large extent, if the voice and emotion interact, the students will experience "emotion carries the voice, and the voice supports the voice." "Love" feeling. Not all vocal music students that vocal music teachers face are students with a very good sense of music and extremely talented music. So for people with average or even poor musical sense, what methods and means can we use to enhance their singing expression? First of all, teachers should choose teaching repertoire that is suitable for the person, at the right time and with the right difficulty. "Suitable" refers to selecting works that match the students' voices, personalities, etc. for teaching. "Timely" refers to selecting the repertoire according to the student's learning stage, or after learning that he has a strong understanding of a certain emotion. For example, if the student is experiencing the pain of a broken love, if you arrange for him to sing " Lamentation Serenade", he may have performed the emotion of this work very touchingly. The "appropriate level" is to select works based on the students' singing ability. Singing ability not only refers to the technical ability of vocalization, but also includes the ability of artistic expression. At the same time, appropriately select some songs that students like to sing very much to stimulate their desire to sing, and let students perform some works within their ability in an informal way. For example, when some students sing some bel canto-style songs, their voices are very "hard" and it is difficult to relax their throats; when some students sing national-style songs, their voices are used to being "squeezed" or "pinched", and they sing with a heavy fundamental tone. It brings a very strenuous feeling. When I meet these students, I usually find them some modern pop songs that are very lyrical, and the singers use a lot of "breath" to perform the songs, and the range and musical tension are appropriate for them to listen to. , let them learn to sing. In this way, they can often do very well, sing loosely and fluently, and become very emotionally involved. When a student picks up the traditional teaching piece that he struggled to sing before, I want him to sing it with the "loose" and "meeting" feeling of singing a pop song. The problem of "hard" or "crowded" is often It's solved. Of course, this is to solve students' vocal technical problems at a certain stage through the selection of teaching repertoire, or the problem of lack of emotional investment in singing. It does not mean that students can interpret any style of song into a popular style. This must be done in the teaching process. Let students understand the truth. Secondly, it is the application and emphasis of contrasting techniques in the teaching of song art expression. I often encounter students like this. For example, when singing a song with a three-beat rhythm, if the strong and weak rhythm of the beat itself cannot be highlighted, how can we talk about musical performance? There are also the notes on the music score of the work. Some facial expression marks, as well as some rules contained in the use and performance of rhythm patterns, are commonplace. Almost as long as there is a melody, there will be some contrasts in strength, weakness, speed, and weight. Our students often because Turning a blind eye and ignoring these are the most basic requirements. If you fail to do them during singing, it is not called a lack of expressiveness. It is "singing is not as good as speaking". On the contrary, if you can use these contrasting techniques appropriately and skillfully, it will add a lot of vitality to your singing. Again, students are required to recite the lyrics with emotion. A good song is often a perfect combination of beautiful melody and poetic lyrics. So, in addition to making more fuss about the melody, there is another way to express it by analyzing and researching the lyrics. In this kind of processing, the singer is required to carefully understand the emotions depicted in the lyrics and the "things" the whole song wants to "say". Stansoslavski once asked singers: "Your singing should be so good that the audience no longer notices that you are singing." Make your singing like telling a story vividly and attract others. This requires you to work hard on your singing tone, sense of language, and emotional ups and downs to achieve it. Teaching and learning a work requires a lot of thought, just like a dramatic actor designing a role, carefully studying what he needs to express, even if it is a small work. The art of solo singing is not exactly the same as the singing skills of drama, opera or opera. The latter has a storyline, and there is a foundation or line to be found for what is performed or sung. And a song, even if the content is more tortuous, only has a few short paragraphs. If you don't sing carefully, it will easily become mediocre. Therefore, "simple" songs need more careful and careful analysis, reasonable arrangement and strict control. The connotation expressed by lyrics and music, careful design, the organic combination of sound and emotion, skills and art can make the art of singing reach a state of perfection. It is indeed not an easy task for a singer to reach the stage of artistic maturity, nor can it be achieved by relying solely on the guidance of a vocal teacher. It also requires unremitting efforts on one's own part.

Finally, I hope that all vocal music learners can conduct long-term and in-depth observation, experience, and feelings of life through their unremitting pursuit and continuous efforts, and integrate them into their own artistic creation. Then, through the control of long-term artistic practice, they can improve their performance. After repeatedly studying the method and working hard on singing "love", I gradually reached a mature state.