本文關(guān)鍵詞：武秀之教授“三女合一”唱法之剖析　出處：《廣西藝術(shù)學(xué)院》2012年碩士論文　論文類型：學(xué)位論文

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【摘要】：隨著聲樂藝術(shù)的不斷發(fā)展，現(xiàn)如今在唱法上出現(xiàn)了許多分類，唱法多元化已成為一種全新的發(fā)展趨勢(shì)，它促進(jìn)了聲樂藝術(shù)在風(fēng)格和演唱上的革新。河南大學(xué)武秀之教授是我國著名的民族聲樂教育家，她是中國聲樂民族化的開路先鋒，也是聲樂演唱多元化的倡導(dǎo)者。她獨(dú)創(chuàng)的“三女合一”唱法聲樂表演教學(xué)理論體系是我國民族聲樂教育的重要組成部分，為中國民族聲樂朝多元化方向發(fā)展提供了寶貴的經(jīng)驗(yàn)。 “三女合一”唱法聲樂表演教學(xué)理論體系實(shí)際上是將西洋歌劇中的“茶花女”、民族歌劇中的“白毛女”與中國戲曲中的“七仙女”三種唱法的演唱特點(diǎn)相互融合而成。因此這種唱法又被稱做“三結(jié)合”或“三合一”唱法，其技術(shù)核心是“假聲位置真聲唱法”。 筆者本科學(xué)習(xí)期間有幸跟隨武秀之教授的得意弟子邱雅洲教授學(xué)習(xí)聲樂，邱老師是武先生“三女合一”唱法的直接繼承者。從她那里，筆者學(xué)到了系統(tǒng)的“假聲位置真聲唱法”發(fā)聲技巧，對(duì)武先生的“三女合一”唱法教學(xué)理論感同身受。作為“三女合一”聲樂教學(xué)理論的見證者和受益者，筆者深切地感受到“三女”唱法的科學(xué)性和實(shí)用性。本文通過對(duì)武秀之教授的藝術(shù)人生、“三女”唱法的歷史背景、藝術(shù)特色以及美聲、民族、戲曲三種唱法的相互比較，著重對(duì)“三女合一”唱法聲樂教學(xué)理論進(jìn)行剖析探討，力求更加全面、細(xì)致地概括總結(jié)出這一理論的可行性。筆者有志于將這一理念介紹給更多的聲樂學(xué)習(xí)者和愛好者，從而為中國的民族聲樂教育事業(yè)貢獻(xiàn)自己的一份綿薄之力。 本論文共分以下幾個(gè)部分： 引言：概括總結(jié)了本課題的選題來源、課題研究的目的及意義、國內(nèi)研究現(xiàn)狀、本課題研究的方法及創(chuàng)新點(diǎn)。資料顯示目前研究零散偏少，缺乏深度。 第一章：“三女合一”唱法概述。本章介紹了武秀之教授坎坷曲折的藝術(shù)人生、“三女”唱法的歷史背景及藝術(shù)特色。分別闡述了美聲、民族、戲曲三種唱法的發(fā)展脈絡(luò)及其特點(diǎn)。 第二章：美聲、民族、戲曲三種唱法的辯證統(tǒng)一。本章通過對(duì)美聲唱法與民族唱法、民族唱法與戲曲唱法、美聲唱法與戲曲唱法的異同進(jìn)行比較研究，，論述了三種唱法之間的共融互補(bǔ)性。 第三章：“三女合一”的教學(xué)理念。本章介紹了“三女合一”教學(xué)理論的核心、訓(xùn)練手段以及教學(xué)實(shí)踐，此章是本篇論文研究的重點(diǎn)。 第四章：“三女合一”唱法的意義。本章介紹了“三女合一”聲樂教學(xué)理論的實(shí)用性、可行性及其重要的創(chuàng)新意義。 結(jié)語：在簡要總結(jié)全文的基礎(chǔ)上，對(duì)“三女合一”聲樂教學(xué)理論做了綜合性的評(píng)述，并提出自己對(duì)中國民族聲樂教育的認(rèn)識(shí)和思考。
[Abstract]:With the continuous development of vocal music art, there are many classifications in singing nowadays, and the diversification of singing has become a new trend of development. It promotes the innovation of vocal music art in style and singing. Professor Wu Xiuzhi of Henan University is a famous national vocal music educator in China and she is the pioneer of the nationalization of Chinese vocal music. She created the "three women in one" vocal performance teaching theory system is an important part of the national vocal music education in China. It provides valuable experience for the development of Chinese national vocal music in the direction of diversification. "three women in one" singing vocal music performance teaching theory system is actually the western opera "camellias female". The singing characteristics of "White-haired woman" in national opera and "Seven Fairy" in Chinese opera are combined with each other, so this singing method is also called "three combination" or "three in one" singing method. Its technical core is "false-voice position true singing method". During my undergraduate study, I was fortunate to follow Professor Wu Xiuzhi's proud disciple, Professor Qiu Yazhou, who was the direct successor to Mr. Wu's "three women in one" singing method. The author has learned the systematic phonation technique of "false position real singing", and he shares the teaching theory of "three women in one" singing method of Mr. Wu. As the witness and beneficiary of "three women in one" vocal music teaching theory. The author deeply feels the scientific and practical nature of the singing method of "three women". Through the artistic life of professor Wu Xiuzhi, the historical background, artistic characteristics and the beauty and nationality of the singing method of "three women". The comparison of the three singing methods of traditional Chinese opera focuses on the analysis and discussion of the vocal music teaching theory of "three women in one" in order to be more comprehensive. The author hopes to introduce this idea to more vocal music learners and lovers, thus contributing his own contribution to the cause of Chinese national vocal music education. This thesis is divided into the following parts: Introduction: this paper summarizes the origin of the topic, the purpose and significance of the research, the present situation of domestic research, the methods and innovations of the research. Chapter one: introduction of singing method of "three women in one". This chapter introduces professor Wu Xiu's bumpy artistic life, historical background and artistic characteristics of "three girls" singing method. The development and characteristics of the three ways of singing opera. The second chapter: the dialectical unity of three kinds of singing methods: beauty, nationality and opera. This chapter makes a comparative study on the similarities and differences between the Bel canto and the national singing, the national singing and the opera singing, the beauty singing and the opera singing. This paper discusses the mutual complementarities between the three singing methods. This chapter introduces the core, training means and teaching practice of the teaching theory of "three women in one", which is the focus of this paper. Chapter 4th: the significance of the singing method of "three women in one". This chapter introduces the practicability, feasibility and important innovation significance of the vocal music teaching theory of "three women in one". Conclusion: on the basis of a brief summary of the full text, the author makes a comprehensive comment on the theory of "three women in one" vocal music teaching, and puts forward his own understanding and thinking about the Chinese national vocal music education.
【學(xué)位授予單位】：廣西藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J616

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