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On the influence of emotional factors in chorus

Zhou Wenjian, Music Department of Guangdong Vocational College of Literature and Art

Chorus performers should have a proper emotional state, so that the chorus skills can be played normally and the chorus art can be reproduced more perfectly.

keyword mood; Emotional state; Chorus; Pitch; Timbre; Strength; Speed; Emotional expression

Emotion is an emotional phenomenon, which usually refers to people's mood and mood. Psychological research shows that emotions have an influence on many cognitive factors. Emotional state is the expression of emotion in practical activities, which is of great significance to people's lives. It may improve people's work and study efficiency, and it may also reduce people's work and study efficiency. [1] P25 Music is an emotional art, and its relationship with emotions is even more inseparable. Music can affect people's emotions. Conversely, the emotional state of the singer (player) also directly affects the expression of music. The art of singing is even more so-"The advanced behavior of singing activities is the external physiological response of singing psychological consciousness, and the art of singing is the art of people's mood." [2] P4 In chorus art, emotional state always influences and dominates the occurrence and development of skills, techniques and artistic emotions, which is an important factor affecting the normal performance of chorus skills. The intonation, timbre, strength, speed and emotional expression of chorus are important aspects in chorus training, and the emotional state of chorus members has certain influence on these aspects. Let's analyze them one by one. 1. Emotion and intonation are the basis of music expression and the most basic requirement in chorus. As a matter of fact, inaccurate intonation still happens from time to time in competitions or performances. According to the statistics of Professor Zhang Yida, the judge of the Eighth School Chorus Festival in Guangzhou, the chorus with inaccurate intonation accounted for 85.9% of the participating teams. There are many reasons for intonation inaccuracy, among which emotion is also an important factor affecting intonation, and it is also a factor that is easily overlooked. "Internal feeling and physiological state are the main conditions for intonation." (3) P34 emotion plays a positive role in forming a good singing state, and the singing state has a certain influence on the quality and intonation of the voice. In all vocal music arts, singers are required to have a good singing state first, and chorus is no exception. Qiu Li, a famous chorus conductor, believes that the posture of the singer is very important in rehearsal, and at the same time, he should maintain a state of excitement. The lack of energy will directly affect the vitality of the diaphragm, and the voice will naturally become lower; When performing on stage, due to the change of environment and unstable psychological state, you are nervous on stage, and it is easy to get too excited. [4] P19 In addition, Professor Ma Geshun also pointed out: "The depression and excessive tension of the conductor will destroy harmony (intonation), especially during the performance." [5] P94 So, how can we make the chorus members have a good singing state? If the conductor only says the requirements, such as "lifting the laughing muscles, opening the soft flap ...", it is not enough. We must find ways to mobilize the emotions of the chorus members and ask them to be in an excited state of mind and have the desire to sing, so as to achieve the singing state we require. If the mood is too lazy, it will easily lead to low intonation. Of course, excessive tension, excessive excitement and excitement will make us unable to control our emotions. At this time, intonation is the most prone to problems and even lead to failure in singing. Therefore, when singing, the mood should be just right, and there should be excitement in relaxation and tension in calm, so as to achieve good results. Let's take a look at the following example: During the Eighth School Chorus Festival in Guangzhou, Teacher Meng Dapeng was invited to hold a chorus lecture at the Beilei Theatre. The choir who cooperated with this lecture was a middle school choir in Guangzhou. When the group was demonstrating singing, the pitch was seriously low, but Teacher Meng Dapeng didn't say a word of criticism or mention a word about pitch. He just started boxing on the stage and asked the players to do it together. These two or three actions, The players were amused at once, and the nervous mood was relaxed. At this time, Teacher Meng Dapeng put forward some requirements about the singing state in time, and the players did it at once. When singing again, the pitch problem was "automatically" solved. Therefore, when there is a problem with intonation, we might as well consider emotional factors. 2. Emotion and timbre chorus is a collection of all kinds of voices, so its timbre changes are endless, with extensive and rich color adjustment, which greatly enriches the expressive force of chorus. Emotion is the main factor that affects the change of timbre, and timbre is the externalization of emotion and emotion. Different emotions will produce different timbre. "Because of emotion, the color of the sound will change immediately" and "Without emotional response, it will produce poor sound quality". (3) Different emotions and emotions of P15 singers will produce different sound colors. For example, happy emotions and emotions can produce bright timbre, sad emotions and emotions can produce dim timbre and so on. The change and contrast of timbre is an important expression of chorus art. If you want to express music with rich timbre, you must inject emotions and emotions into the sound, so as to achieve "bringing sound with emotion". "Using stories, emotions, etc., we can penetrate the desired dramatic emotions into sensitive voices." [3] P15 For example, the first part of Huang Shui Ballad is the same melody as the reproduced part, but due to different contents, the timbre requirements are also different. The first part, "Yellow Water Flows to the East ...", describes a scene of peace, harvest and joy on both sides of the Yellow River before the Japanese invasion, so the timbre requirements are slightly brighter, so the mood is clear; The reappearance part, "Yellow water rushing day and night is busy ...", describes a bleak scene after being trampled by the Japanese devils, and the timbre requirements are dim, so it is necessary to sing with sad emotions. 3. The change of mood and intensity is an important expression technique in chorus art, and its role in emotion is also very profound. It brings people rich emotional experience, which is like an avalanche when it is strong and shocking; Weak strength can express delicate emotions ... "The infinite change of strength is the most appropriate expression of the infinite change of human emotions, and there are as many kinds of emotions as there are." [6] P94 "The pitch is expressed by the fluctuation of melody, and the change of pitch is mainly controlled by the singer." [2] P429 As we all know, people's volume will change with the change of mood. The more excited the mood, the louder and louder the voice. On the contrary, the calmer and looser the mood, the lighter and dimmer the voice; With the emotional tension, the voice will get stronger and stronger; With the relaxation of emotions, the voice will become weaker and weaker. In singing, we can refer to the above rules. For example, when singing ff, we should sing with full and abundant emotions. However, we should also pay attention to the fact that singing is different from talking. The intensity of music not only refers to the volume, but also includes the performance of musical emotion. Although the volume is very small when singing pp, we can't relax the control of singing intensity, and we should use the same tension as when singing ff. If we are relaxed when singing pp, then this voice will be lazy and powerless. Therefore, the emotional state can never be relaxed when singing, and the mood should be adjusted according to the specific content and needs of the work in order to achieve reasonable strength and good singing effect. For example, when singing Brahms' lullaby, sweet and soft emotions should be used throughout the whole song, and the intensity should be controlled within the range of ppp to mp. The intensity of some works changes greatly, so does the singing mood. For example, the beginning of Roar, Yellow River is "Roar, Yellow River!" Horn-like tone is a very imposing cry, with the strength of F and the emotion to be passionate; In the middle part, "A nation of 5, years has suffered a lot ..." The intensity drops to mf, and the speed also slows down. At this time, the singing mood should be deep and implicit; To "but, the new China has dawned" is the turning point of the mood. With the strengthening of the intensity, the mood is getting more and more passionate. In the end, "to the suffering people all over the world, send a warning signal of fighting!" It symbolizes the cry of the people of China for the final victory. The strength should be above ff, which has a strong appeal. The emotions of the conductor and chorus members should be very passionate, and even the whole body must be full of blood and passion, in order to sing an earth-shattering "battle alarm"! 4. Emotion and speed The singing speed of songs is closely related to emotions. Like strength, the movement state of speed is consistent with the movement state of people's emotions. People will speak faster when they are happy and slower when they are sad. [6] P93 "A certain speed reflects a certain mood. Generally speaking, the faster the speed, the more excited the mood. On the contrary, the slower the speed, the calmer or deeper the mood. " [2] P438 songs with cheerful and lively emotions have a faster singing speed; Sorrow and sadness should be expressed at a heavy and slow speed; Songs with firm and powerful emotions generally use the speed of the March ... With the change and development of the mood and emotion of the song, the singer's mood also changes, thus affecting the change of the speed of the song, which is gradually fast, slowly, suddenly fast or suddenly slow. Usually, emotion and speed affect each other: the same melody can be sung at different speeds, and conversely, the same melody can be sung at different speeds. The same work will be sung at different speeds if there are different understandings in emotion (of course, we advocate making minor adjustments according to our own understanding of the work and the actual situation of the chorus on the basis of respecting the author's intention). For example, singing My Roots, In China! "(Qu Yi Ci, Situ Kang Qu) When writing this chorus, some choirs used" slow medium speed "and some choirs used" medium speed ".In fact, behind these two speeds are different understandings of the emotion of the work. Using "slow and medium speed" to interpret can better express the yearning and yearning for "root" hidden in the depths of memory, and the mood of singing is stable and full of affection; The interpretation with "medium speed" feels smooth, which makes people feel that "I" has a good memory of "My roots are in China", and better expresses the urgent mood of "I" to "return to the old nest", and the singing mood is pleasant. In addition, people's emotions will change at any time, and this emotional change will affect the normal speed of chorus at any time. For example, some choirs sing faster and faster during performances or competitions, which is caused by excessive emotional tension or excitement due to changes in the environment. As a conductor, he should always pay attention to adjusting his emotions and those of the chorus members, especially in performances or competitions. If the chorus members are nervous, the conductor should first stabilize his emotions and try his best to influence the chorus members with stable emotions, so that they can be stable and cheer up. This is one of the effective ways to ensure the normal play of chorus speed. 5. Emotional expression of emotions and music Music is the art of expressing emotions, and the emotions expressed by chorus music are also rich and colorful. In chorus performance, the emotional state of performers (including conductors and chorus members) has a direct impact on the emotional expression of music. The concrete manifestations are as follows: first, the emotion of chorus can not be produced without the emotion and emotion fluctuation of performers during their performances. From the psychological point of view, singing is the expression of the singer's inner feelings and emotions. It is recorded in Yue Ji: "Those who feel sad are killed by their voices;": Those who feel happy, their voices are slow; Those who are happy with their feelings have scattered their voices; Those who feel angry have a rough voice; Those who respect their hearts, their voices are straight and cheap; Those who are caring, their voices are gentle. " It can be seen that emotions play an important role in the expression of musical emotions. Good music can be sung in different ways, but there is one thing in common-it must be sung with heart and emotion. In order to make the performance produce a touching effect, it is necessary to mobilize the singer's emotions and emotions and put them into singing performance activities. However, emotions are very complicated. Different growth experiences and social experiences make everyone have different emotional experiences on music works. Chorus is a collective artistic activity, and the emotions conveyed by chorus music are collective. In chorus activities, it is necessary for the conductor to mobilize and unify the emotions and emotions of chorus members, and create chorus sound to express the contents of chorus works and shape the musical image. If we don't pay attention to the unity of the chorus members' emotions and emotions, even the chorus members are absent-minded, which will definitely affect the singing effect of the chorus and make the singing become "vocal and heartless". Second, the emotion and emotion of chorus can not be produced without the emotional connotation of songs. "Emotion and emotion are a reflection of the singer's ideological content, which is the source of the singer's emotion and emotion ... Therefore, singing emotion and emotion are the psychological reaction of the singer's analysis, understanding and experience of the song." [2] P41 That is to say, before singing, the ideological content of the work must be analyzed in detail, so as to grasp the mood and emotion of the work. Chorus is an art performed by the conductor and the chorus members (including the accompanist). Therefore, before rehearsing the chorus works, as the soul of the chorus, the conductor should make a detailed analysis of the works, deeply understand the theme, expression content, creative technique, creative motivation, background and creative style of the works, grasp the overall mood of the works, and explain his understanding of the works and singing requirements to the chorus members during rehearsal. Only when each member deeply understands the ideological content of the work and vividly expresses the emotion of the work under the unified requirements of the conductor can the singing achieve the effect of full of sounds and emotions and touching hearts.

Generally speaking, the emotional state in chorus performance should be full and positive, excited and excited, and the singing mood should be adjusted according to the emotional content of the song. Only in this way can our chorus skills be brought into normal play and the chorus art be reproduced more perfectly. Therefore, as the conductor and trainer of chorus, we should pay attention to this training and find ways to mobilize the emotions of chorus members in order to give full play to their best level.