摘要
在中国当下的音乐生产和音乐消费中,大众广泛接受的音乐式样是音乐的表演。更近一步说,歌唱艺术已经不再是单纯的声乐演唱,而是要达到形神兼备的表演,是"演"与"唱"的有机结合体,只有这样才能使歌唱完美。因此,我们的音乐领域或说我们的歌唱艺术出现了新的诉求,这种对音乐消费品的更高层次的要求既源自音乐受众,也源自当下视听技术的推动。这种诉求也要求我们从理论和实践上对原有的歌唱艺术进行重新地考察。从"演"与"唱"两个维度出发展开讨论,对歌唱艺术本体论进行了重新审视,进而考察了如何通过"演"与"唱"达到歌唱艺术的臻美。
At present, musical performance is the most widely genre that is accepted by the public in their musical production and consumption. More specifically, singing art is not merely confined to its traditional form any more. On the contrary, singing art should combine performance art and singing art. Only through this, singing art would reach its perfect state. This new trend in singing art field, which mainly is promoted by the development of audio-visual technology and the improvement of public music appreciation, requires us professional persons to reconsider our singing art in traditional form theoretically as well as practically. In this article, singing art has been re-examined ontologically and then, the combination of singing art and performance art has been discussed from singing and performing perspectives.
出处
《辽宁师范大学学报（社会科学版）》
2013年第3期431-434,共4页
Journal of Liaoning Normal University(Social Science Edition)
关键词
歌唱艺术
本体论
维度
歌唱
歌唱主体
二度创作
艺术作品
表演
singing art
ontology
dimension
singing
singing subject
re-creation
art works
performance
