Belongs to the "Sino-Tibetan language family". There are thirty letters in the Tibetan language. “Except for the two letters 3 tongue sound 3. guttural sound 3., the place of pronunciation should be in the deeper abdomen, the rest of the twenty-eight letters are basically pronounced in the oral cavity. "The first position." (Quoted from Ma'alu's article "A Preliminary Study on the Basic Laws of Tibetan Folk Music") Tibetan single-character syllables (or words), two-syllable words, and words composed of three or four syllables all have the character of stress. The pronunciation characteristics from high to low. This determines that the rhythm of Tibetan lyrics and the tone of vocal works have a "downward" pattern. Different beat forms, such as one beat, two beats in a section, between two measures, the first two measures and the last two measures in a sentence, are all processed according to the rules of strong to weak, high to low. Among them, great emphasis is placed on the downbeat effect. Whether it is a happy, smooth and lyrical vocal work, or a sad, high-pitched and melodious vocal work, it is inseparable from the support of downbeat. For example, the folk song "Form a Lifelong Fate", driven by the strong beat of each line, is like a hada dropped from high in the sky, or like colorful fireworks blooming and falling. It represents the artistic style of Tibetan vocal music.
When starting sentences of Tibetan folk songs and pastoral songs, the singer must be very energetic, and there is often a continuous upward spin. However, because the intensity of each word is downward and the pronunciation is far away, it cannot be prolonged. , so some vocal works often use vowels that are easy to prolong, such as suo, ya, la, etc. Make its sound bright and spacious. It is like the Himalayas reaching into the sky, echoing between heaven and earth. For example, when singing the composition songs "Qinghai-Tibet Plateau", "Everest" and "Himalayas", you need to use a more forward position, the tension in the pharynx should be greater, and more mixing should be used. It has a real tone and the articulation position should be close to the upper teeth, so that the unique color of the Tibetan nation can be expressed. Belongs to the Mongolian language family of the Altaic language family. It is an agglutinative language with different accents and has twenty-nine letters. It is a pinyin type. The basic characteristics of speech are: vowel harmony structure and long vowel, short vowel, zero vowel and compound vowel structure. When pronouncing vowels, the tongue is positioned backward and the lips are rounded, making the sound rich and broad. Consonants include paired stops and affricates, which are either voiceless or voiceless, or voiceless aspirated or unaspirated. Use the lips, teeth, and tongue to apply force on different parts of the mouth to make the sound distinct and smooth.
Mongolian singing uses a higher voice position and a deeper breath in the Dantian, using the intensity of the chest, head and nasal cavity, the method of moistening the cavity by sliding up and down, and various forms of rhythm. And the Mongolian parabolic method expresses the Mongolian national character of rough expansion and boldness.
Mongolian songs are created based on the Mongolian national language. The swaying tone of its tail tone, the decorative melody of the side note, the intonation, rhythm, musical character, musical language, etc., all fully reflect the Mongolian vocal singing style. Vocal music styles in different regions are closely related to dialects, and their style characteristics are inseparable from the intonation, pronunciation, pronunciation, and charm of the local language. Cantonese, represented by "Cantonese Dialect", has nine different tones, namely Shang Ping, Shang Shang, Shang Go, Shang Ru, Xia Ping, Xia Shang, Qiu, Xia Ru, Zhong Ru, etc. Because the character is divided into nine tones, the distance between the sounds is small, making the pitch of the character close to the sounds in the hexatonic scale of 5 612 3 5. For example, the Cantonese ditties "Dressing Table", "Selling Groceries", "Jade Beauty", "Baihua Pavilion", "Sweeping the Street", etc. are all based on the tone, intonation and articulation.
Songs sung in the "Cantonese dialect" have a low tone and mostly closed words and flat words, resulting in a strong nasal sound, a mixture of chest, nose, and head cavities, and a strong descending sound. , there are many chest sounds, bright upwards, and more head sounds. The tone, tone, mouth shape, and phoneme are closely combined with the Cantonese dialect, forming the unique color and charm of Cantonese songs.
The Suzhou dialect in the Wu dialect area is a very distinctive and representative dialect in this dialect area. The main difference between Suzhou dialect and Mandarin lies in the four tones. The four tones of Mandarin and the four tones of Suzhou dialect are the same for Yinping characters. Although both of them are rising tones for Yangping characters, Suzhou dialect is lower than Mandarin.
The rising tone: Suzhou dialect's tone value is slightly lower than that of Mandarin; the falling tone: Suzhou dialect's tone value is falling while rising, while Mandarin's tone is falling. "Except for the Shang tone (most of the ancient voicing sounds return to Yang), the tones of Suzhou dialect are divided into yin and yang." (Quoted from Zhang Ming's "Chinese dialect and folk music") It is sung in Suzhou dialect, often using village words such as "Li Ge Mo Xie", with a very special rhythm and accents at both ends. The songs in the Wu dialect are mostly clear, quiet, soft, delicate and lyrical. For example, when singing its representative songs "Jasmine Flower", "Wuxi Scene", "Uprooted Reed Flowers" and "Taihu Beauty", the voice should be forward, the articulation should be close to the front of the tongue and teeth, and it should be clear and soft; The connection should be round and not angular. For example, in the first sentence of "Jasmine", the second time "what a jasmine flower" is sung on the highest note, the "Do" sound must be pronounced in Suzhou dialect, thus affecting the sound of ***. Use it, but don't open your throat too wide, otherwise you will lose the characteristics of Jiangnan folk songs, so you need to be gentle here and don't sing hard.
Regional dialects are consistent with singing styles, and there are two relative levels. That is, relative to the Chinese national language as a whole, "dialects" are regional, and within the scope of each dialect, There are also local sub-layers of regional styles. There has always been a saying among the people that "ten miles have different pronunciations", which is a true portrayal of the rich Chinese dialects. For example, compared with several provinces in the Central Plains, the three northeastern provinces, and parts of Inner Mongolia, there are obvious and unique regional style characteristics in dialects and singing styles.
Shandong language, pronunciation, tone, phoneme, tone value, charm, etc., all have the characteristics of sharp edges, large fluctuations, and strong contrast, such as the contrast in the singing of "Baoleng Diao" Strong, Shandong flavor is extremely rich. The falling long ranges, pauses and octave up and down melody make the singing lively, cheerful, humorous, cheerful and straightforward. Since the octave is moved up in a fast rhythm, the singer's enunciation must be crisp and clear, and the abdominal muscles, larynx, and breath must be coordinated organically at the pauses in the unison progression.
Living in different geographical environments, terrain, landforms and climates, products and people's production methods, living customs, ways of thinking, aesthetic tastes, cultural landscapes, as well as culture and art including music, etc. , all have direct influence and correlation.
The plateau areas in my country include Xinjiang, Tibet, Qinghai and Inner Mongolia, as well as the mountains and plateau areas in Yunnan, Guizhou, Sichuan, Jiangxi, Hunan and Guizhou provinces; the plains include: North China Plain, Guanzhong Plain, Yangtze River The downstream plains, the Pearl River Delta plains, and some plains on the Sichuan Basin and Yunnan-Guizhou Plateau; the water system includes three arterial systems, the Yellow River system, the Yangtze River system, and the Pearl River system, which slope from northwest to southeast. Under such cultural background conditions of topography, landforms, natural geographical environment and regional cultural styles, the vocal art of each region presents colorful, distinctive, multi-layered and diverse regional style characteristics. There are mainly two phenomena: In the three regions of plateau, plain and river system, due to the ethnic customs, language characteristics, aesthetic habits, the migration and intermingling of ethnic groups and the differences, exchanges and integration of different regional cultures, as well as agriculture, animal husbandry, fishing and hunting The combination of economy and culture, complementation, communication and other methods make the vocal music styles in these regions coexist and integrate with each other. For example, in Inner Mongolia, there is the phenomenon of "Mongolian-Han tune", which is a phenomenon where you are in me and I am in you. Among the Zhuang people, due to the intermingling of ethnic groups in different regions and the exchange of culture, language and folk songs, specific styles have emerged. For singers, the issue of distinctive style and personality is of extremely important significance. If a singer does not have his own singing style, no matter how rich his works are, they cannot have special beauty and appeal that cannot be replaced by the works of other singers. Achieved singers can make unique contributions to the development of the art of singing because they have their own distinctive singing styles. For example, tenor Guo Song, on the basis of inheriting the Northeastern folk song style, gave full play to his personal subjective characteristics and formed a unique singing style and singing method in his long-term artistic practice.
Guo Song's representative works are "The Fifth Watch of the Crescent Moon", "Watching Yangge", "Losing the Ring", "Jasmine Flower", "Looking at the Lover", "Visiting the Door", "Ding Niu" and "The New Merchant", "Dadingzi Mountain Yo Gao". "You Gao", "Ussuri Boat Song", etc., which are characterized by simplicity, boldness, cheerfulness and open-mindedness in singing, highlighting the artistic characteristics of Northeastern folk songs such as beauty, waves, storytelling and interest, through scientific vocalization methods and unique vibrato , portamento and other embellishment skills, the work achieves a harmonious unity of emotion, words, breath, sound, taste, crispness, softness and hardness. The uniqueness of the personal singing style is very prominent, integrating Northeastern folk songs and newly created Northeastern style works Pushed to a new artistic realm.
The formation of a singer's artistic style and personality is not only inseparable from the singer's personal conscious pursuit and exploration, but also has a close relationship with the development process of social history. Judging from the development of the times, the aesthetic needs of a certain historical stage play an important impact on the personality formation of the singer's singing style. After the founding of the People's Republic of China, singing styles became more colorful.
The accumulation of comprehensive qualities of soprano Li Guyi has given her a very broad artistic vision. She organically integrates her artistic experience with the spirit of the times, so that her vocal works not only reveal her personal heart-warming sentiments, but also clearly reflect the ideal light of the spirit of the times. The most concentrated expression of Li Guyi's pursuit and exploration of vocal style is to sing true feelings, paint true scenes, blend scenes, and create a very expressive artistic conception. Her "White Feathers Send Deep Love", "Sister Seeks Brother and Tears", "Nostalgic Love", "Rose in My Heart", "Welcome Song", "Flower Stream", etc.
Every singer with a distinctive personality has a unique perception of the beauty of vocal art that is different from other artists, and is particularly good at capturing things that can fully express the uniqueness of his or her vocal style. This unique aesthetic feeling ability, which is connected with the singer's personality and temperament, constitutes the most basic thing of the singer's style and personality. For example, the tenor singer Li Shuangjiang uses his "gold-like high notes and fire-like emotions." In his singing activities, he shows the kind of freedom, magnificent momentum, warm sincerity, strong and vigorous strength, and the kind of strength that spans thousands of miles. , unrestrained style. The dominant thread running through it is the high-spirited spirit of the times and the beauty of the heroic and unrestrained spirit. He sang "Red Star Shines on Me to Fight", "Beijing Ode", "I Love Wuzhishan·I Love Wanquan River", "Song of Herding Horses", "Goodbye, Mom", "Prairie Night" and other different songs. In his vocal works, he not only grasps the leading trend of the spirit of the times in singing art, but also embodies the uniqueness of singing art style and expression method.
The distinctive and distinctive personality of an excellent singer is revealed from the content and form of vocal works, the unity of thought and art, and runs through his series of In his works, it has become a distinctive and unique symbol of his vocal style. The works of tenor singer Jiang Dawei include not only cheerful, bright, free and vigorous national folk songs, but also long-lasting and colorful creative songs with different themes and genres. In terms of style, he skillfully integrates Western vocal techniques into his singing without any trace of being mechanical. The slow, subtle and far-reaching works such as "A Landscape Painting Sent from Home" and "The Stars Laughing Underground"; the free and open-minded, unrestrained and passionate "Spring Breeze Blows", "Song of the Peony", "Torch Festival", "Yan Yan" and other works; Works such as "The War on the River"; the sincere and interesting "Green Pine Ridge", "Border", "The Hunt Starts Here" and other film and television interludes all contain the singer's full passion and unique singing style.
The colorful singing styles presented by different national languages, different regions and different individuals fully embody the spirit of a hundred flowers blooming and a hundred schools of thought blooming. It is also clearly reflected in the style and form. It has a dominant style tone and a variety of style variations. It can be said to be the organic unity of the main melody and polyphony.
In order to further develop the diversity of national singing styles and achieve the goal of establishing a Chinese vocal school, we must truly open our horizons and truly connect the various branches of national singing and the art of Western singing. mutual learning and communication. In the author's opinion, it mainly includes the following three aspects: first, the research and discussion of vocal art types and artistic styles; first, the comparison of the arts of different ethnic groups, regions, and cultural circles; third, the relationship between singing artists in other cultural fields, science and technology, and Objective factors of society, as well as a wider range of exploration and practice such as tradition and fashion of the times. In this way, we can use the unique style of the Chinese vocal music school to enrich the treasure house of world vocal music art, make our unique contribution in the field of world vocal music art, and naturally occupy a place.