论声乐教学实践中一些观点的辩证认识
摘要
声乐教学实践中有许多观点既有着对应性,又有着相关系性相辅相承;有的存在于教与学当中;有的贯穿于歌唱中想象调控和情感调控之中;有的贯穿于整个歌唱过程。认识不到这些矛盾中的辩证关系或不能正确地把握和和处理这关系,就很难使整个歌唱过程顺利进行对于在教学及声乐实践中出现的问题不能割裂开来分析,只有从宏观上去阐述和论证声乐教学实践中所存在的一些观点的矛盾及各部分之间、部分与整体之间的关系,才能使学生对声乐艺术实践有一个整体的认识和全面的了解,才能从整体上去把握声乐艺术,从而对声乐艺术的学习有一个明确的方向和一个清晰的思路。在本文中,作者将分五个部分,从自身的视角进行一次全面的论述。
一、字与声
字与声是我们在声乐教学中和实践中经常提到的,也是歌唱的灵魂。学生对字与声的关系有时处理不当,过分强调字,就会造成肌肉紧张,声音紧、挤,就会缺少弹性和圆润,要是过于强调声而忽略字,又会造成吐词含糊不清,影响歌曲的表现力,所以要充分了解字的读音规律,深刻理解文字的内容,使字与声的搭配更加合理均衡。传统理论中提到“字正腔圆”。“字正”就能“腔圆”吗。这种观点含有片面性。“字正”和“腔圆”既有独立性,又有一定的因果关系。
二、歌唱中的想象调控与情感调控
想象调控和情感调控是歌唱过程中一个很重要的环节。想象是内心听觉的预想。要想得到优美的动听的音色,首先要在内心建立起这种声音的概念,要在内心的想象中准确地知道这个声音的形象。情感表现涵盖着喜、怒、哀、乐等情绪变化。是歌者根据自己的体验和对歌曲作品的理解,而产生的一种外部表情,是一种高级的社会性感情,它会借助歌曲作品蕴含的情调与想象交织在一起,支配想象去组合表象。
三、声与情
没有正确的发声方法和情溢的演唱技巧,完美地表现声乐作品就成了空谈。但不能把声乐技巧就等同于声乐艺术。只有情感的投入才能使声乐技巧焕发光彩,使作品展现其艺术魅力,割裂了技术与情感的关系。就不是完整的声乐艺术。关于“以声传情”还是“以情带声”的问题,这两种观点看似对应,其实却恰恰说明了一个问题的两个方面,“以情带声”强调的是感情、情绪对声音技术、技巧的能动的影响作用,而“以声传情”则强了声音技术、技巧对情感表现的基础、决定性作用。以情节带声是一种方法、手段,而以声传情则是最终的目的。
四、教与学
教与学是声乐教学过程中的一对基本矛盾。教学既要适应学生又要有适度的超越。教师既是整个教学活动的组织者、引导者,同时又要充分发挥学生学习过程中的主体作用,调动的不仅是教师的积极性,更重要的是要调动学生的积极性,使其积极性得到充
In the practice of vocal music teaching,lots of viewpoints are characterized by both thecorrespondence and correlation complementing each other;some exist in the teaching andstudying;some are permeated with the singing imagination regulation and control andemotional regulation and control;some are ermeating in the whole course of singing。If thereis no recognition of the dialectical relations among these contradictions or unable to correctlygrasp and handle the relationships thereof,it shall be very difficult to carry out the entirecourse of singing successfully and for the problems arising from the teaching and vocal musicpractice,they should not be analyzed separately and the only way is to expound and prove ina macro way some contradictions of viewpoints and part-to-part and part-to-wholerelationships existing in the practice of vocal music teaching and studying,thus enabling thestudents having a whole recognition and complete understanding of the practice of vocalmusic arts so as to grasp the vocal music arts as a whole and have a clear and definiteorientation and distinct train of thought on the studies of vocal music arts. In this text,thewriter shall completely expound them in five parts from the self angle of the writer.
Ⅰ.Word and voice.
Frequently mentioned are the word and voice in the course of our vocal music teachingand they are also the soul of song singing. Sometimes the students can not properly handlethe relations between word and voice and if overemphasizing the word,it will cause themascular tension and voice tightness and squeezing and lack elasticity,sweetness andmellowness of voice;however,if overemphasizing voice and neglecting word,it will causethe unclearness and indistinctness of pronunciation,thus affecting the expressiveness of songand therefore,it is necessary to fully understand the pronunciation law of word and deeplycomprehend the content of the words in order to get a still more rational and harmoniousmatching between word and voice。As for the “Clear Articulation and a Mellow and FullTune” mentioned in the traditional theory,can the “Clear Articulation” make “A Mellow andFull Tune”? if yes,this viewpoint contains onesidedness because the “Clear Articulation” and“A Mellow and Full Tune ” have not only their own independences but also the causality to acertain extent.
Ⅱ.Imagination regulation and control and emotional regulation and control insinging.
Imagination regulation and control and emotional regulation and control are animportant link in the course of singing. Imagination is the expectation of intrapsychic senseof hearing. If desirable is the melodious and beautiful tune,first of all,a concept of this kind
of Voice should be established intrapsychically and accurately know the image of this voicein the intrapsychic imagination. The emotional depression contain such changes of feelings ashappiness,anger, grief and joy, etc.. It is a kind of external expression arising from the singeraccording to his/her own experience and the comprehension to the song works,it is a kind ofhigher sociality emotion and it can dominate the imagination to integrate with thepresentation with the aid of mingling the taste with imagination embraced in the song works.Ⅲ. voice and emotionWithout correct method of vocalization and enthusiasm-glowing singing skills,it willbecome an empty talk to perfectly express the vocal music works. However,it is notadvisable to equate the vocal music skills with the vocal music arts. Only putting moreemotions can make the vocal music skills radiate the splendor and make the works show theirartistic charm;If cutting apart the relations between technique and emotion,it will be by nomeans the integral vocal music arts. Regarding the issues of “Convey emotion by voice” or“Guide voice by emotion”,it seems that these two viewpoints are homologous,but in fact itexactly illustrates the two aspects of the issue,i.e. “Guide voice by emotion ” emphasizes thedynamic influential function of emotion and mood over the voice technique and skills;incontrast,”Convey emotion by voice ” emphasizes the fundamental and decisive functions ofvoice technique and skills over the emotional expression.” Guide voice by emotion” is a kindof method and means and “Convey emotion by voice ” is the ultimate aim.Ⅳ. Teaching and StudyingTeaching and studying is a pair of basic contradiction in the course of vocal musicteaching activities. The teaching activities are required to both suit the students and have anappropriate overstepping. Teachers are the organizers,guides of the entire teaching activitiesand at the same time,the teachers are required to bring into full play the subject function inthe course of studying,which are not only arousing the enthusiasm of the teachers but alsothe enthusiasm of the students and bringing into full play their enthusiasm,enliven theatmosphere in the classroom and trigger the students,creativeness so as to make the course ofteaching activities form a bilateral interaction course,thus obtaining ideal teaching effect.Ⅴ. Beauty of artistic singing and appreciation of beauty.Some people think that “musical arts are one of the greatest and most moving creationsof mankind”. The beauty of singing can arouse the people's impressions for the appreciationof beauty;the artistic singing contains the meanings of two aspects,first one is the beautiful“song”,i.e. the beautiful song works,second one is the beautiful” singing”,i.e. embody thetaste of beauty through the singing skills of the singers and bring the people into theimpression and enjoyment of beauty by dint of the subjective creation of the singers. Thebeauty of singing is the product with the high integration of beauty of skills and beauty ofemotion. Although the individual character of the consciousness of appreciation of beauty
varies greatly,it also hat a general law and objective standard and,at the same time,there isa certain difference of individual character. Natural beauty is the highest realm of singingarts,beauty of individual character and multiple beauty are also the exotic flowers of singingarts. Essentially speaking,man's consciousness of appreciation of beauty has the social andhistorical objective standard and in respect of the observation of imagination,it also has thecharacteristic feature of rich individual experience.
一、字与声
字与声是我们在声乐教学中和实践中经常提到的,也是歌唱的灵魂。学生对字与声的关系有时处理不当,过分强调字,就会造成肌肉紧张,声音紧、挤,就会缺少弹性和圆润,要是过于强调声而忽略字,又会造成吐词含糊不清,影响歌曲的表现力,所以要充分了解字的读音规律,深刻理解文字的内容,使字与声的搭配更加合理均衡。传统理论中提到“字正腔圆”。“字正”就能“腔圆”吗。这种观点含有片面性。“字正”和“腔圆”既有独立性,又有一定的因果关系。
二、歌唱中的想象调控与情感调控
想象调控和情感调控是歌唱过程中一个很重要的环节。想象是内心听觉的预想。要想得到优美的动听的音色,首先要在内心建立起这种声音的概念,要在内心的想象中准确地知道这个声音的形象。情感表现涵盖着喜、怒、哀、乐等情绪变化。是歌者根据自己的体验和对歌曲作品的理解,而产生的一种外部表情,是一种高级的社会性感情,它会借助歌曲作品蕴含的情调与想象交织在一起,支配想象去组合表象。
三、声与情
没有正确的发声方法和情溢的演唱技巧,完美地表现声乐作品就成了空谈。但不能把声乐技巧就等同于声乐艺术。只有情感的投入才能使声乐技巧焕发光彩,使作品展现其艺术魅力,割裂了技术与情感的关系。就不是完整的声乐艺术。关于“以声传情”还是“以情带声”的问题,这两种观点看似对应,其实却恰恰说明了一个问题的两个方面,“以情带声”强调的是感情、情绪对声音技术、技巧的能动的影响作用,而“以声传情”则强了声音技术、技巧对情感表现的基础、决定性作用。以情节带声是一种方法、手段,而以声传情则是最终的目的。
四、教与学
教与学是声乐教学过程中的一对基本矛盾。教学既要适应学生又要有适度的超越。教师既是整个教学活动的组织者、引导者,同时又要充分发挥学生学习过程中的主体作用,调动的不仅是教师的积极性,更重要的是要调动学生的积极性,使其积极性得到充
In the practice of vocal music teaching,lots of viewpoints are characterized by both thecorrespondence and correlation complementing each other;some exist in the teaching andstudying;some are permeated with the singing imagination regulation and control andemotional regulation and control;some are ermeating in the whole course of singing。If thereis no recognition of the dialectical relations among these contradictions or unable to correctlygrasp and handle the relationships thereof,it shall be very difficult to carry out the entirecourse of singing successfully and for the problems arising from the teaching and vocal musicpractice,they should not be analyzed separately and the only way is to expound and prove ina macro way some contradictions of viewpoints and part-to-part and part-to-wholerelationships existing in the practice of vocal music teaching and studying,thus enabling thestudents having a whole recognition and complete understanding of the practice of vocalmusic arts so as to grasp the vocal music arts as a whole and have a clear and definiteorientation and distinct train of thought on the studies of vocal music arts. In this text,thewriter shall completely expound them in five parts from the self angle of the writer.
Ⅰ.Word and voice.
Frequently mentioned are the word and voice in the course of our vocal music teachingand they are also the soul of song singing. Sometimes the students can not properly handlethe relations between word and voice and if overemphasizing the word,it will cause themascular tension and voice tightness and squeezing and lack elasticity,sweetness andmellowness of voice;however,if overemphasizing voice and neglecting word,it will causethe unclearness and indistinctness of pronunciation,thus affecting the expressiveness of songand therefore,it is necessary to fully understand the pronunciation law of word and deeplycomprehend the content of the words in order to get a still more rational and harmoniousmatching between word and voice。As for the “Clear Articulation and a Mellow and FullTune” mentioned in the traditional theory,can the “Clear Articulation” make “A Mellow andFull Tune”? if yes,this viewpoint contains onesidedness because the “Clear Articulation” and“A Mellow and Full Tune ” have not only their own independences but also the causality to acertain extent.
Ⅱ.Imagination regulation and control and emotional regulation and control insinging.
Imagination regulation and control and emotional regulation and control are animportant link in the course of singing. Imagination is the expectation of intrapsychic senseof hearing. If desirable is the melodious and beautiful tune,first of all,a concept of this kind
of Voice should be established intrapsychically and accurately know the image of this voicein the intrapsychic imagination. The emotional depression contain such changes of feelings ashappiness,anger, grief and joy, etc.. It is a kind of external expression arising from the singeraccording to his/her own experience and the comprehension to the song works,it is a kind ofhigher sociality emotion and it can dominate the imagination to integrate with thepresentation with the aid of mingling the taste with imagination embraced in the song works.Ⅲ. voice and emotionWithout correct method of vocalization and enthusiasm-glowing singing skills,it willbecome an empty talk to perfectly express the vocal music works. However,it is notadvisable to equate the vocal music skills with the vocal music arts. Only putting moreemotions can make the vocal music skills radiate the splendor and make the works show theirartistic charm;If cutting apart the relations between technique and emotion,it will be by nomeans the integral vocal music arts. Regarding the issues of “Convey emotion by voice” or“Guide voice by emotion”,it seems that these two viewpoints are homologous,but in fact itexactly illustrates the two aspects of the issue,i.e. “Guide voice by emotion ” emphasizes thedynamic influential function of emotion and mood over the voice technique and skills;incontrast,”Convey emotion by voice ” emphasizes the fundamental and decisive functions ofvoice technique and skills over the emotional expression.” Guide voice by emotion” is a kindof method and means and “Convey emotion by voice ” is the ultimate aim.Ⅳ. Teaching and StudyingTeaching and studying is a pair of basic contradiction in the course of vocal musicteaching activities. The teaching activities are required to both suit the students and have anappropriate overstepping. Teachers are the organizers,guides of the entire teaching activitiesand at the same time,the teachers are required to bring into full play the subject function inthe course of studying,which are not only arousing the enthusiasm of the teachers but alsothe enthusiasm of the students and bringing into full play their enthusiasm,enliven theatmosphere in the classroom and trigger the students,creativeness so as to make the course ofteaching activities form a bilateral interaction course,thus obtaining ideal teaching effect.Ⅴ. Beauty of artistic singing and appreciation of beauty.Some people think that “musical arts are one of the greatest and most moving creationsof mankind”. The beauty of singing can arouse the people's impressions for the appreciationof beauty;the artistic singing contains the meanings of two aspects,first one is the beautiful“song”,i.e. the beautiful song works,second one is the beautiful” singing”,i.e. embody thetaste of beauty through the singing skills of the singers and bring the people into theimpression and enjoyment of beauty by dint of the subjective creation of the singers. Thebeauty of singing is the product with the high integration of beauty of skills and beauty ofemotion. Although the individual character of the consciousness of appreciation of beauty
varies greatly,it also hat a general law and objective standard and,at the same time,there isa certain difference of individual character. Natural beauty is the highest realm of singingarts,beauty of individual character and multiple beauty are also the exotic flowers of singingarts. Essentially speaking,man's consciousness of appreciation of beauty has the social andhistorical objective standard and in respect of the observation of imagination,it also has thecharacteristic feature of rich individual experience.
引文
[1] 马拉费奥迪,《卡鲁索的发声方法》,人民音乐出版社 1984 年。
[2] 沈湘、李晋玮,《沈湘声乐教学艺术》,上海音乐出版社 1998 年。
[3] 石惟正,《声乐基础学》,人民音乐出版社,2002 年。
[4] 余笃刚,《声乐艺术美学》,高等教育出版社,1993 年。
[5] 邹要初,《唱歌学》——沈湘歌唱学体系研究,人民音乐出版社,2000 年。
[6] 张晓农,《中国古代声乐艺术》,中华书局,2003 年。
[7] 邹长海,《歌唱艺术心理学》,人民音乐出版社,2000 年。
[8] 张前、王次昭,《音乐美学基础》,人民音乐出版社,2000 年。
[9] 石惟正,《声乐教学法》,百花文艺出版社,1996 年。
[10] 张弦等译,《西洋歌剧名作解说》,人民音乐出版社,1992 年。
[11] 蔡仲德,《中国音乐美学史》,人民音乐出版社,1995 年。
[12] 李凌,《歌唱艺术漫谈》,上海文艺出版社,1980 年。
[13] 张晓农,《声乐分级教学》,陕西师范大学出版社,1996 年。
[14] 叶朗,《中国美学史大纲》,上海人民出版社,1985 年。
[15] 张侃,《音乐心理必读》,西南师大出版社,2000 年。
[16] 章志光,《心理学》,人民教育出版社,1985 年。
[17] 富立明,《美声》,中国国际广播出版社,1990 年。
[18] 杰罗姆·汉涅斯,黄伯春译,《大歌唱家谈精湛演唱技巧》,中国青年出版社,1998年。
[19] 刘新从、刘正夫,《欧洲声乐史》,中国青年出版社,1999 年。
[20] 邱明正,《审美心理学》,复旦大学出版社,1993 年。
[21] 孟昭兰,《普通心理学》,北京大学出版社,1994 年。
[22] 张锦华,《声乐表演教程》,海峡文艺出版社,1998 年。
[23] 李晓贰,《民族声乐演唱艺术》,湖南文艺出版社,2001 年。
[24] 李伯黍、燕国材,《教育心理学》,华东师范大学出版社,2001 年。
[25] 王朝闻文编,《美学概论》,人民出版社,1994 年。
[26] 白燕,《音乐的基础知识》,中国文联出版公司,1980 年。
[27] VL.K.那查连科,《歌唱艺术》,人民音乐出版社,1981 年。
[28] 李凌,《音乐美学像笔》,广西人民出版社,1986 年。
[29] 傅道春,《教育学——情境与原理》,教育科学出版社,1999 年。
[2] 沈湘、李晋玮,《沈湘声乐教学艺术》,上海音乐出版社 1998 年。
[3] 石惟正,《声乐基础学》,人民音乐出版社,2002 年。
[4] 余笃刚,《声乐艺术美学》,高等教育出版社,1993 年。
[5] 邹要初,《唱歌学》——沈湘歌唱学体系研究,人民音乐出版社,2000 年。
[6] 张晓农,《中国古代声乐艺术》,中华书局,2003 年。
[7] 邹长海,《歌唱艺术心理学》,人民音乐出版社,2000 年。
[8] 张前、王次昭,《音乐美学基础》,人民音乐出版社,2000 年。
[9] 石惟正,《声乐教学法》,百花文艺出版社,1996 年。
[10] 张弦等译,《西洋歌剧名作解说》,人民音乐出版社,1992 年。
[11] 蔡仲德,《中国音乐美学史》,人民音乐出版社,1995 年。
[12] 李凌,《歌唱艺术漫谈》,上海文艺出版社,1980 年。
[13] 张晓农,《声乐分级教学》,陕西师范大学出版社,1996 年。
[14] 叶朗,《中国美学史大纲》,上海人民出版社,1985 年。
[15] 张侃,《音乐心理必读》,西南师大出版社,2000 年。
[16] 章志光,《心理学》,人民教育出版社,1985 年。
[17] 富立明,《美声》,中国国际广播出版社,1990 年。
[18] 杰罗姆·汉涅斯,黄伯春译,《大歌唱家谈精湛演唱技巧》,中国青年出版社,1998年。
[19] 刘新从、刘正夫,《欧洲声乐史》,中国青年出版社,1999 年。
[20] 邱明正,《审美心理学》,复旦大学出版社,1993 年。
[21] 孟昭兰,《普通心理学》,北京大学出版社,1994 年。
[22] 张锦华,《声乐表演教程》,海峡文艺出版社,1998 年。
[23] 李晓贰,《民族声乐演唱艺术》,湖南文艺出版社,2001 年。
[24] 李伯黍、燕国材,《教育心理学》,华东师范大学出版社,2001 年。
[25] 王朝闻文编,《美学概论》,人民出版社,1994 年。
[26] 白燕,《音乐的基础知识》,中国文联出版公司,1980 年。
[27] VL.K.那查连科,《歌唱艺术》,人民音乐出版社,1981 年。
[28] 李凌,《音乐美学像笔》,广西人民出版社,1986 年。
[29] 傅道春,《教育学——情境与原理》,教育科学出版社,1999 年。