摘要
文章根据对中国历代声乐理论家精辟论述的领悟,结合自己长期的声乐演唱和教学实践,分析和探讨南北民歌在歌曲风格与演唱方法方面的四大相异特点:一,在语言特点上,北方民歌的字多、南方民歌的字少,北方咬字棱角分明、南方咬字细巧柔和;二,在节奏特点上,北方民歌速度快而紧凑、南方民歌速度慢而从容,北方民歌乐句短而呼吸应快速灵活、南方民歌乐句长而气息需深沉稳定;三,在润腔特点上,北方民歌断处多,南方民歌以连为主;四,在传情特点上,北方民歌字情多、南方民歌声情多,北方民歌用声真声多于假声,南方民歌假声成分稍多些。
Penetrating discussions by classical singers in China provide comprehensive guidance to ethno- oriented singing and its teaching today. These documents contain valuable esthetic implications with high standards for the science of vocal training. The author, based on his own insights of the documents and practice in performing and teaching, makes an in- depth analysis of and exploration to, from the views of language, rhythm, tune- patterning, and emotional presentation, the features of folk song singing in South and North.
出处
《星海音乐学院学报》
2005年第4期72-76,共5页
Journal of Xinghai Conservatory of Music