【摘要】：聲樂(lè)教學(xué)實(shí)踐中有許多觀點(diǎn)既有著對(duì)應(yīng)性,又有著相關(guān)系性相輔相承;有的存在于教與學(xué)當(dāng)中;有的貫穿于歌唱中想象調(diào)控和情感調(diào)控之中;有的貫穿于整個(gè)歌唱過(guò)程。認(rèn)識(shí)不到這些矛盾中的辯證關(guān)系或不能正確地把握和和處理這關(guān)系,就很難使整個(gè)歌唱過(guò)程順利進(jìn)行對(duì)于在教學(xué)及聲樂(lè)實(shí)踐中出現(xiàn)的問(wèn)題不能割裂開(kāi)來(lái)分析,只有從宏觀上去闡述和論證聲樂(lè)教學(xué)實(shí)踐中所存在的一些觀點(diǎn)的矛盾及各部分之間、部分與整體之間的關(guān)系,才能使學(xué)生對(duì)聲樂(lè)藝術(shù)實(shí)踐有一個(gè)整體的認(rèn)識(shí)和全面的了解,才能從整體上去把握聲樂(lè)藝術(shù),從而對(duì)聲樂(lè)藝術(shù)的學(xué)習(xí)有一個(gè)明確的方向和一個(gè)清晰的思路。在本文中,作者將分五個(gè)部分,從自身的視角進(jìn)行一次全面的論述。 一、字與聲 字與聲是我們?cè)诼晿?lè)教學(xué)中和實(shí)踐中經(jīng)常提到的,也是歌唱的靈魂。學(xué)生對(duì)字與聲的關(guān)系有時(shí)處理不當(dāng),過(guò)分強(qiáng)調(diào)字,就會(huì)造成肌肉緊張,聲音緊、擠,就會(huì)缺少?gòu)椥院蛨A潤(rùn),要是過(guò)于強(qiáng)調(diào)聲而忽略字,又會(huì)造成吐詞含糊不清,影響歌曲的表現(xiàn)力,所以要充分了解字的讀音規(guī)律,深刻理解文字的內(nèi)容,使字與聲的搭配更加合理均衡。傳統(tǒng)理論中提到“字正腔圓”�！白终本湍堋扒粓A”嗎。這種觀點(diǎn)含有片面性。“字正”和“腔圓”既有獨(dú)立性,又有一定的因果關(guān)系。 二、歌唱中的想象調(diào)控與情感調(diào)控 想象調(diào)控和情感調(diào)控是歌唱過(guò)程中一個(gè)很重要的環(huán)節(jié)。想象是內(nèi)心聽(tīng)覺(jué)的預(yù)想。要想得到優(yōu)美的動(dòng)聽(tīng)的音色,首先要在內(nèi)心建立起這種聲音的概念,要在內(nèi)心的想象中準(zhǔn)確地知道這個(gè)聲音的形象。情感表現(xiàn)涵蓋著喜、怒、哀、樂(lè)等情緒變化。是歌者根據(jù)自己的體驗(yàn)和對(duì)歌曲作品的理解,而產(chǎn)生的一種外部表情,是一種高級(jí)的社會(huì)性感情,它會(huì)借助歌曲作品蘊(yùn)含的情調(diào)與想象交織在一起,支配想象去組合表象。 三、聲與情 沒(méi)有正確的發(fā)聲方法和情溢的演唱技巧,完美地表現(xiàn)聲樂(lè)作品就成了空談。但不能把聲樂(lè)技巧就等同于聲樂(lè)藝術(shù)。只有情感的投入才能使聲樂(lè)技巧煥發(fā)光彩,使作品展現(xiàn)其藝術(shù)魅力,割裂了技術(shù)與情感的關(guān)系。就不是完整的聲樂(lè)藝術(shù)。關(guān)于“以聲傳情”還是“以情帶聲”的問(wèn)題,這兩種觀點(diǎn)看似對(duì)應(yīng),其實(shí)卻恰恰說(shuō)明了一個(gè)問(wèn)題的兩個(gè)方面,“以情帶聲”強(qiáng)調(diào)的是感情、情緒對(duì)聲音技術(shù)、技巧的能動(dòng)的影響作用,而“以聲傳情”則強(qiáng)了聲音技術(shù)、技巧對(duì)情感表現(xiàn)的基礎(chǔ)、決定性作用。以情節(jié)帶聲是一種方法、手段,而以聲傳情則是最終的目的。 四、教與學(xué) 教與學(xué)是聲樂(lè)教學(xué)過(guò)程中的一對(duì)基本矛盾。教學(xué)既要適應(yīng)學(xué)生又要有適度的超越。教師既是整個(gè)教學(xué)活動(dòng)的組織者、引導(dǎo)者,同時(shí)又要充分發(fā)揮學(xué)生學(xué)習(xí)過(guò)程中的主體作用,調(diào)動(dòng)的不僅是教師的積極性,更重要的是要調(diào)動(dòng)學(xué)生的積極性,使其積極性得到充
[Abstract]:In the practice of vocal music teaching, there are many points of view that exist in the correspondence, but also have a close relationship with each other; some exist in the teaching and learning; some are through the imagination regulation and the emotion regulation in the singing; some are through the whole singing process. it is very difficult to make the whole singing process go smoothly to the problems that arise in the teaching and the vocal music practice, Only from the macro-scale, the contradiction of some viewpoints and the relationship between the part and the whole in the practice of vocal music teaching can be explained and demonstrated, so that the students can have a whole understanding and a comprehensive understanding of the practice of the vocal music art, in order to master the vocal music art from the whole, Therefore, the study of vocal music art has a clear direction and a clear idea. In this paper, the author will be divided into five parts to make a comprehensive discussion from its own perspective. One, the word and the sound word and the sound are in the vocal music teaching As often mentioned in the practice, the soul of the singing is also the soul of the singing. The relationship between the word and the sound is sometimes mishandled, the words are stressed excessively, the muscles are tense, the sound is tight, the squeezing is caused, the elasticity and the round are absent, As a result, the speech is ambiguous and the expressive force of the song is influenced, so that the pronunciation rule of the word is fully understood, the text is deeply understood, In the traditional theory, "right-and-square-ca" 鈥渨ord positive鈥，

本文編號(hào)：2328258