戏歌演唱所需具备的声乐意识摭谈——以《江山无限》为例  

Discussion on the Vocal Awareness Required for Opera Singing:Taking Boundless Scenery as an Example

作　　者：魏艳斐[1] Wei Yan Fei

机构地区：[1]南阳师范学院音乐学院

出　　处：《中国音乐》2024年第3期170-177,共8页Chinese Music

基　　金：2023年度河南省哲学社会科学规划年度项目“和诗以歌——中国古诗词歌曲传唱在美育中的理论创新与实践探索”(项目编号:2023BYS025)的阶段成果。

摘　　要：在歌曲中使用戏曲元素的“戏歌”在社会上已是屡见不鲜,在众多音乐院系中却少有人尝试,这是因为音乐院系固有声乐技术、观念与戏歌演唱不相匹配。演唱戏歌,尚需具备“字正”意识,用好润腔,分清字腔和过腔;具备“分字”意识,不能直呼唱词;具备“断唱”意识,不可一味连贯;具备“自觉颤音”意识,少用或不用“自然颤音”。想要唱好戏歌,必须有意学习并使用中华优秀传统戏曲艺术的知识与技术。The use of operatic elements in songs,known as"opera songs,"has become a popular trend in society,yet few in the music academic circles have attempted it.This is because the inherent vocal techniques and concepts within music academia do not align with the singing of opera songs.Singing opera songs requires a"correct pronunciation"awareness,effective use of embellishment techniques(Runqiang),and clear differentiation between the character's voice and transitional voice;an awareness of"word separation,"avoiding the direct singing of lyrics;an awareness of"segmented singing,"refraining from continuous singing;and an awareness of"conscious vibrato,"using less or no"natural vibrato."To sing opera songs well,one must intentionally learn and apply the knowledge and techniques of China's excellent traditional operatic art.

关 键 词：戏歌 倒字 分字 断唱 自觉颤音 

分 类 号：J616[艺术—音乐]