Vocal Improvisation in Rock Music

Yuan Sun
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Abstract

The purpose of the paper is to highlight the peculiarities of vocal improvisation in rock music. The historical and theoretical aspects of the research problem are characterised, the works of famous rock singers whose vocal improvisation has become an integral part of their musical activity are analysed. Research methodology. To achieve this goal, a set of methods was used, namely: general scientific methods – analysis, synthesis, generalisation, systematisation – were used to develop the problem; specific scientific methods: historical-genetic and retrospective analysis, which clarified the formation and development of rock music; comparative and contrastive analysis, which was used to outline vocal improvisation in rock music; biographical method, which was used to analyse vocal improvisation in the activities of famous rock singers. The scientific novelty lies in the fact that for the first time the features of vocal improvisation in rock music are presented. Conclusions. The article focuses on the concept of “vocal improvisation” (the process of creating music with the voice without pre-prepared musical or textual materials), reveals its essential aspects in rock music, which are hidden in a special tension, energy, emotional load, melody, smooth transitions between notes, the use of a rough voice, special effects such as echo, reverb, vocal filters. The features of vocal improvisation are analysed on the example of the works of Freddie Mercury (rock band “Queen”), Robert Plant (rock band “Led Zeppelin”), Steven Tyler (rock band “Aerosmith”). It has been found that a wide vocal range, the use of high notes, spontaneous vocal phrases and sounds are characteristic of Freddie Mercury (“Bohemian Rhapsody”, “Galileo”, “Someone to Love”). Whereas strong, expressive vocals and the ability to vary vocal riffs characterize Robert Plant (“Whole Lotta Love”, “Dazed and Confused”, “Black Dog”) and Steven Tyler (“Dream”, “Sweet Emotions”, “Mama Kin”). The focus is on vocal improvisation in rock music of the early XXI century, which is characterized by eclectic styles, the use of technology, and variations in lyrics. Keywords: vocals, improvisation, music, rock, vocal improvisation, rock music, rock band.
摇滚音乐中的即兴声乐
本文旨在强调摇滚音乐中即兴声乐的特殊性。本文对研究问题的历史和理论方面进行了描述,并分析了著名摇滚歌手的作品,这些歌手的即兴演唱已成为其音乐活动不可分割的一部分。研究方法。为实现这一目标,使用了一系列方法,即:一般科学方法--分析、综合、概括、系统化--用于发展问题;特殊科学方法:历史-遗传和回顾分析,用于阐明摇滚音乐的形成和发展;比较和对比分析,用于概述摇滚音乐中的即兴发声;传记方法,用于分析著名摇滚歌手活动中的即兴发声。科学新颖性在于首次提出了摇滚音乐中即兴发声的特点。结论。文章重点论述了 "声乐即兴 "的概念(在没有事先准备音乐或文字材料的情况下用嗓音创作音乐的过程),揭示了摇滚音乐中声乐即兴的基本方面,这些方面隐藏在特殊的张力、能量、情感负荷、旋律、音符之间的平滑过渡、粗犷嗓音的使用、回声、混响、人声滤波器等特殊效果中。我们以弗雷迪-墨丘利(摇滚乐队 "皇后")、罗伯特-普兰特(摇滚乐队 "齐柏林飞艇")、史蒂文-泰勒(摇滚乐队 "史密斯飞船")的作品为例,分析了即兴声乐的特点。研究发现,宽广的音域、高音的使用、自发的声乐短语和声音是弗雷迪-默丘里的特点(《波希米亚狂想曲》、《伽利略》、《Someone to Love》)。而罗伯特-普朗特(Robert Plant)(《Whole Lotta Love》、《Dazed and Confused》、《Black Dog》)和史蒂文-泰勒(Steven Tyler)(《Dream》、《Sweet Emotions》、《Mama Kin》)的特点则是声线强烈、富有表现力,并能变化声乐旋律。关键词:人声、即兴、音乐、摇滚、人声即兴、摇滚音乐、摇滚乐队。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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