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英国paper代写-The treble art of opera

2018-10-12 | 来源:51due教员组 | 类别:Paper代写范文

下面为大家整理一篇优秀的paper代写范文- The treble art of opera,供大家参考学习,这篇论文讨论了歌剧中的高音艺术。歌剧是以歌唱为主,综合诗歌、音乐和舞蹈等艺术的戏剧。其中歌唱都是以剧为依托去展现歌唱的魅力。其中,高音唱法蕴含在各个组成部分,在歌剧的发展占有重要的位置。要唱好高音必须加强文化艺术底蕴,如果演唱者在演唱高音技术上能做到得心应手,良好的音乐和文化艺术修养也可以随之得到展示。

opera,歌剧高音艺术,英国论文代写,论文代写,paper代写

Opera is a dramatic work in which lines are sung with the accompaniment of Musical Instruments. As a drama presented with music, most lines of the opera need to be sung and the musical accompaniment is needed to serve the plot. The music in opera needs to be integrated with literature, art, dance and other sister arts to form a comprehensive art form. The birth of opera cannot be separated from the influence of the humanistic trend of thought in the Renaissance. Humanism is the most influential ideological trend in the Renaissance. Humanists advocate restoring songs to clear, ancient monologues, while combining ancient Greek tragedy to create new music forms, a theory that led to the birth of opera.

If you want to make your singing round and sweet, you must use resonance. When we sing, we mainly use the resonant cavity with chest, throat, nasal cavity and head cavity. To sound good, we must have the resonance above part of chest when singing high, medium and low voices, that is, the high position of the voice. It has been proved that the pronunciation of human voice is applied to the "pair of reed tube". Sound waves are caused by the sound of the vocal cords being buffeted by air currents, like the sound of a "spring," which is the source of sound and can produce different sounds. And enlarging the volume can change the timbre, thus has the "resonance", at this time must look for the resonance to assist the work to produce the effect, is regarded as "tube" two resonance. One refers to the throat chamber above the throat vestibule to the epiglottic and posterior wall of the pharynx in a salty tubular position, known as the "pitch resonance tube." It not only determines the pitch of the sound but it also works with the vocal cords to produce high frequency resonant peaks. Determines the sound has the timbre and penetrability; The other refers to the channel formed by the whole pharyngeal cavity at the posterior position of the tongue, which can induce a series of overtone resonance and produce multiple resonance peaks, including high-frequency resonance peaks, which play a crucial role in the sound quality, tone color and volume. It is called "overtone resonance tube". In the process of singing to appear perfect effect, "pitch tube" and "overtone tube" should work together, and the two tubes should sing in unison and interact with each other. These belong to the basic principles and characteristics of singing resonance. Soprano is one of the traditional singing methods of treble, and is the most common. Her tone is sweet and gentle, and it is divided into two major vocal areas: the middle and the high, especially the high. In singing, true and false sound combination, head cavity resonance glass, colorful.

Singing is the art of breathing. In singing, the use of breath is particularly important. Some people say that breathing is something that everyone is born with. Indeed, it is true that everyone can breathe, but not everyone knows how to breathe when singing, just as one would die if he did not breathe. Of course, vocal music is a comprehensive art, but practice has proved that breath plays an important role in singing. ? What are the techniques of vocal art entering the advanced stage? Compared to what? Is the breath. He who has a good grasp of the breath, and a high skill in the breath, and a high skill in singing, will keep his artistic youth forever. Although there are various theories, schools and teaching methods in the Chinese and foreign music circles, different singing methods have different requirements and methods in the use of breath, but they all attach great importance to the reasonable use of breath. The song controlled by breath is vocal music, and breath is the motive force of singing. The vocal music world has "who knows the breath, who can sing" said, explained the breath in the singing of the importance, it is really the singer should first learn a basic skill. The breathing of singing is not the same as the breathing of speaking in daily life. In daily life, people speak to communicate thoughts and feelings, because the average distance is close the required the volume is small, shallow breath, without great efforts, also need not spread very far, and we talk after a long time continuous singing, easily fatigue, hoarse voice, if this talk of breathing for singing is incompetent. Singing is to express emotion, is to sing to others. Singing with tend to be public, should be the song spread to every corner, and therefore requires sound should not only have a certain volume, and it is certain to should have the strength of the change, must be able to sing for a long time, and requirements to meet the needs of the song, or long or short, or strong or weak, controlled release of high or low transmission, to do this,, it is not the simple things. Therefore, the breathing during singing as an artistic means has its own unique set of rules and methods, it is a technical problem, is trained.

The dramatic tenor role of course has to be chunky and full of energy. It usually has a range from c1 to b2 to c3. In certain dramatic or tragic situations, he USES his voice and expression to show his passionate emotions. In the emotional catharsis often with the characteristics of narrative. The most famous ones are manlico in verdi's opera verdi's "the bard" and Othello in "Othello". Othello's aria in the second act, "ah, goodbye forever, sacred memory," shows his exasperated, irrational state of mind after listening to yago's rumors. The first part of this aria is an emotional narration. After entering into the aria, Othello expressed his angry and painful feelings towards the imagined intimacy between desdemona and cassio, and then demonstrated his determination to abandon love and trust and bid farewell to the glorious victory of war. The emotion of sello in the play is intense, the tone is thick and solid to strengthen the dramatic character.

The male voice is divided into three parts, namely tenor, baritone and bass. Their status and reputation in the development of western vocal music are not the same, and people's love for them varies in different historical periods and in different countries. The sound of each part of the human voice and the music image in the opera reasonable correspondence, not only can enable a variety of colorful human voice tone can be shown, but also the role of music image real and natural. However, during the development of western vocal music for several hundred years, such a principle did not always run through. The appearance of castrated singers completely disturbed the corresponding relationship between the role and the vocal part in the opera. The high-pitched and vocal skills became the mainstream of singing, the tenor's high-pitched techniques were not solved, and the male voice was "degraded", thus forming a new vocal hierarchy.

There are three important points in the process of the voice training of coloratura soprano: to build a solid foundation of breathing; Cultivate active singing status and stable chest fulcrum. To build a solid foundation of breathing, "singing is breathing" is one of schumann's principles from beginning to end. A famous singer once said, "what makes the vocal cords vibrate is the breath. In order to prolong the sound, it must be supported by the breath. At the same time, the use of breath is closely related to the level, strength and quality of the voice." It can be seen that solid breathing plays a decisive role in the vocalization of singing. The biology textbook of high school records that the human body has 639 muscles in total, except normal daily activities such as eating, washing and so on, the vast majority of muscles of human body are idle. Based on the strong research and practice of vocal music, it is necessary to exercise and excavate the function of muscles related to vocal organs.

Related vocal organs include vocal cords, sinuses, pharyngeal wall muscles, diaphragm, lumbar and abdominal muscles. Building a solid foundation for breathing is actually building a solid respiratory system. It includes the diaphragm, lumbar and abdominal muscles, and is the work of developing muscle potential, improving muscle function and making it naturally coordinated through a scientific and systematic training method. Whether the respiratory system is strong or weak determines whether the silver is bright, whether it is elastic, and whether the lines of music are clear. Therefore, for the soprano, the solid foundation of breathing is the focus of silver, which can improve the speed of the interval and enhance the activity rate of music. In this way, it can better enrich the mission Sydney harbour and make the sound more colorful and attractive. For example, donizetti's opera works contain a large number of coloratura sopranos. If you want to be familiar with these works and complete some skills with high quality, then the foundation is the most important. The establishment of the active singing state the establishment of the active singing state is the premise of the high position of the head cavity in training concentration. The singing of coloratura requires a strong penetrating and infectious sound, which must be a strong echo of the head cavity.

Through active singing training, some muscle machines can be improved to build a sound head cavity pipeline. Head cavity pipeline is also called upper acoustic area pipeline, finger cavity, nasal cavity, pharyngeal cavity unity and smooth. The muscles associated with the superior vocal tract include the eyebrow muscles, the muscles of the posterior pharyngeal wall, the frontal sinus, the muscles of the flanks of the nose, and the laugh muscles. Training the active singing state is to have the rich emotion to devote. As the saying goes, "songs are born from the heart, and sound with emotion", that is to say, the singer wants to express a song and bring his emotions into the song at the same time, so that what is sung out is an emotional melody. Singing requires emotional cultivation of the soil, and the emotional soil can help to relieve the muscles between the eyebrows, lift the pharyngeal wall and the frontal sinus, expand the muscles on both sides of the nasal wing, and the flexible movement of the laughter muscle, so as to open up the upper vocal tract of the sound. For the singing training of the flower cavity, how to combine the active singing state with the solid breathing to achieve the unity of the upper and lower sound pipes, and balance the two forces of "sigh downward" and "lift upward", which are the key points and difficulties in the singing learning process, as well as the necessary research direction. This process must have the scientific basis, through the systematic training steps, one by one practice can be realized. The first step is to build a solid foundation for sound breathing. Only after the breathing training is basically stable can the active singing state training be carried out. If we ignore the breath blindly to emphasize the positive and excited singing state, it will inevitably cause the larynx to be too high, and the breath will be lifted, and the tone will be lost, thus weakening the penetrating power of sound and the power of infection. The humming exercise plays an important role in the combination of breathing and mask training. Through some trainings, on the one hand, strengthen the functional training of the relevant respiratory system muscles, and on the basis of this, stretch your eyes to keep the nasal cavity unobstructed, and on the other hand, keep the upper vocal area up and up through the continuous expansion of waist and abdominal muscles, so as to maintain a positive singing state. Training stable bel canto of chest fulcrum has its own specific sound principles, among which one of the most representative principles is to establish an unobstructed sound channel and singing body. We often listen to the vocal music teacher say that we should use the cavity to sing, but how to keep the upper acoustic area pipeline and abdominal cavity unimpeded and united, is the difficulty of this process. The stable thoracic fulcrum is the joint of sound and breath, and the link between the head cavity and the abdominal cavity. The training of a stable thoracic fulcrum is actually to maintain a steady position of the larynx.

To stabilize the laryngeal position is a very difficult process. You should not be eager for quick success and quick success. You must do it under the guidance of a professional vocal music teacher. In practical teaching practice, the training of the stable position of the larynx first requires the correct and natural closed glottis. We all know that sound is produced by an airflow hitting a closed glottis, making the vocal cords vibrate. Just like speaking and reciting in the natural state of daily life, if you want the audience to be clear about what you are saying, you have to speak each word clearly. If air leakage occurs, the lack of clarity of the whole sound will make the audience unhappy. Therefore, natural correct training and correct closing are the key to singing. The second is to require the laryngeal position to subside in combination with the expansion of the diaphragm and the lumbar and abdominal muscles, with the support of breathing to ensure the continuity and stability of the larynx position. To guide students to practice the vocalization skills through specific methods: it is suggested to use the descending progressive vocal music to drive the diaphragm muscle to expand before the occurrence, and then let the expansion continue, and then lead the natural beat of the interval, so as to stabilize the larynx position. In the process of coloratura singing, many jump, trill, staccato and slide are performed and trained on the basis of keeping the position of the descending larynx and stable thoracic fulcrum.

In donilati's opera, the vocalization skills of a large number of coelos are difficult to master, so it must be achieved through systematic vocal training steps, scientific vocal training methods and time training. However, no matter the solid foundation of breathing, the stable fulcrum of chest, or the active state of singing, there is an inevitable connection between each other. In the process of training, the combination of the three should be combined organically instead of putting all your eggs in one basket. These are necessary to the vocal learning process and singing skills of the organic guarantee.

American symbology aesthetician Susan b. According to lang, the tone structure of "music" is logically in accord with human emotional forms-enhancement and decay, flow and rest, conflict and resolution, and acceleration, inhibition, and excitement. Therefore, humans can use the form of singing to express the emotion of the song and realize the value of the song. The expression of emotion is a comprehensive psychological activity composed of various elements. To better express the emotion of songs, singers should pay attention to cultivating their expression ability from various factors that affect emotion. Opera is a drama composed mainly of singing, music and dancing. For example, in order to better perform the cantos of carvaradocci in Tuscany, the author, based on his own singing and teaching experience, makes some personal comments on how to better sing the aria of tenor in Tuscany: first, understand the content. When we get an aria, we should first know what the aria narrates, understand the historical background of the opera, understand the underlying meaning of the aria and the ideological content to be expressed, and achieve the most basic understanding of the opera. Second, experience the character image. After having a basic understanding of his opera, it is necessary to understand the character image he wants to show. Because in an opera, each character's state of mind, thought and social status are different, so when singing his aria, the singer must be immersed as if he is the character to be shown. And singing an aria at the music is a little different from an opera. The former may lay more stress on the singer's interpretation of the aesthetic personality, and highlight the individual creativity. However, in order to respect the original appearance of art and reflect the reality of art, the singer should accurately and perfectly reproduce music sound and the composer's creation idea. Therefore, the singer must have a full understanding of the drama of the opera and the role in the play, and accurately grasp the character's personality characteristics.

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