{"title":"唱腔在歌唱艺术中的重要性","authors":"R. Fagarasan","doi":"10.31926/but.pa.2022.15.64.3.5","DOIUrl":null,"url":null,"abstract":"The idea for this article’s subject started from the importance of diction that accompanies the music. It’s essential to be able to understand very well the words that are sung, because they give the “tone” of the entire lyrical-dramatical action. The listeners will perceive the emotion that is conveyed through the verses, and the music, as a unity. I have listened to various interpretations of singers that approached arias, leads, etc, who don’t have good diction, therefore in their musical discourse I could hear the predominance of the vowels A - E - O - U, and I could barely hear the consonants. This way, instead of following the lyrical-dramatic action itself, brought by the music and the words, I was experiencing auditory discomfort. In order to bring their own interpretation to the musical language, and to express mastery, the artist must have theoretical knowledge, and technical training and use them precisely. This way they would be able to reach high performances of the vocal tract, which will lead to the harmonious delineation of a singing style that matches the demands of the musical piece.","PeriodicalId":440876,"journal":{"name":"Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts","volume":"250 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Importance of Diction in the Art of Singing\",\"authors\":\"R. Fagarasan\",\"doi\":\"10.31926/but.pa.2022.15.64.3.5\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The idea for this article’s subject started from the importance of diction that accompanies the music. It’s essential to be able to understand very well the words that are sung, because they give the “tone” of the entire lyrical-dramatical action. The listeners will perceive the emotion that is conveyed through the verses, and the music, as a unity. I have listened to various interpretations of singers that approached arias, leads, etc, who don’t have good diction, therefore in their musical discourse I could hear the predominance of the vowels A - E - O - U, and I could barely hear the consonants. This way, instead of following the lyrical-dramatic action itself, brought by the music and the words, I was experiencing auditory discomfort. In order to bring their own interpretation to the musical language, and to express mastery, the artist must have theoretical knowledge, and technical training and use them precisely. This way they would be able to reach high performances of the vocal tract, which will lead to the harmonious delineation of a singing style that matches the demands of the musical piece.\",\"PeriodicalId\":440876,\"journal\":{\"name\":\"Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts\",\"volume\":\"250 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-02-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.31926/but.pa.2022.15.64.3.5\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.31926/but.pa.2022.15.64.3.5","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
这篇文章主题的想法是从伴随音乐的措辞的重要性开始的。能够很好地理解所唱的歌词是至关重要的,因为它们赋予了整个抒情戏剧动作的“基调”。听众会把通过歌词和音乐传达的情感视为一个整体。我听过歌手对咏叹调、引子等的各种解释,他们的措辞不太好,因此在他们的音乐话语中,我能听到元音A - E - O - U的优势,而我几乎听不到辅音。这样,我就没有跟随音乐和歌词带来的抒情戏剧动作本身,而是经历了听觉上的不适。为了给音乐语言带来自己的诠释,并表现出自己的精通,艺术家必须有理论知识,有技术训练并精确地运用它们。这样他们就能达到声道的高表现,这将导致演唱风格的和谐描绘,与音乐作品的要求相匹配。
The idea for this article’s subject started from the importance of diction that accompanies the music. It’s essential to be able to understand very well the words that are sung, because they give the “tone” of the entire lyrical-dramatical action. The listeners will perceive the emotion that is conveyed through the verses, and the music, as a unity. I have listened to various interpretations of singers that approached arias, leads, etc, who don’t have good diction, therefore in their musical discourse I could hear the predominance of the vowels A - E - O - U, and I could barely hear the consonants. This way, instead of following the lyrical-dramatic action itself, brought by the music and the words, I was experiencing auditory discomfort. In order to bring their own interpretation to the musical language, and to express mastery, the artist must have theoretical knowledge, and technical training and use them precisely. This way they would be able to reach high performances of the vocal tract, which will lead to the harmonious delineation of a singing style that matches the demands of the musical piece.