/ Aswen News/July 27, 2022 Guangzhou -- Since its inception, Shenzhen Vocal Music Season has always paid great attention to the full integration of vocal music art practice and theory. On July 25th and 26th, two days after the opening of the fourth "Shenzhen Vocal Music Season", the first aesthetic education forum with the theme of "Happy Life" and the "China Vocal Music Summit Forum" deeply exploring the professional field were held in Longgang Cultural Center of Shenzhen successively.
The fourth "Shenzhen Vocal Music Season · Vocal Music Summit Forum", which just ended successfully on the morning of July 26, gathered vocal music educator Zou Wenqin, intangible cultural heritage protection expert Tian Qing, conductor Lv Jia, performance educator Chen Wei, musicologist Xiao Mei, who has been working in the field for many years, and music producer Ye Yunchuan Lao Luo, a composer who explores and promotes Chinese folk music, and a number of singers with extensive stage practice: Gong Linna, Liang Ning, Guo Sen, Lei Jia, Shi Yijie, etc. With the gathering of masters and the collision of ideas, we will inherit and innovate on the basis of the successful experience of the previous three sessions. From the topic of "from classroom to stage" in 2021, we will move to the content of "from field to stage", and carry out the discussion in three sections. Zhang Meng, deputy Director of Music and Art Center of China Federation of Literary and Arts and deputy editor of People's Music, was invited to be the guest host.
In the opening, Zhang Meng reviewed the achievements of the vocal music forum in the past three years, "China Vocal Music Forum involves the content from performance to research, from teaching to communication, breaking down the whole chain of performing arts to the audience." Afterwards, Zhang invited experts from the three major sectors to speak on stage respectively. The first section takes "absorbing artistic nutrients from national and folk" as the main content. Gong Linna, the singer and founder of Art Nouveau Music, shared her experience in different regional ethnic groups with the theme of "From the rich timbre of Chinese folk songs". She said, "If folk songs are performed without dialects and corresponding timbre changes, they will lose their local flavor and artistic characteristics. These rich sounds and timbre are the most precious treasure of Chinese folk songs."
Music producer Ye Yunchuan tells the related issues of "the protection and dissemination of Chinese traditional culture" with the experience of traveling to different places for collecting music. "I am glad that I am not alone on my way to collecting music, but found a community during the vocal season. We need to learn from the people, from the people who nourish the land." Ye Yunchuan said, "The inheritance and protection of folk music requires time, but also passion and impulse. It is the traction of inner emotions. It cannot wait until all conditions are met." < / p > < p > singers, hunan normal university music institute, shenzhen stone leaning jie, professor with the school of music, with "Chinese singing skill and art works" as the theme, combined with their own practical experience, from the bel canto when it comes to how to better service in China, Chinese bel canto to some experience about the articulation of bel canto: spin to rhyme duration, but refused to exaggeration; Four sound in the first, fourth sound as far as possible not glides; Pay attention to the design of phrases such as dead air. At the same time, he suggested that the singers should fully grasp the artistic conception of the poems when singing the ancient poems, to create a sense of picture for the audience. "Mother tongue determines the sound of Bel Canto, and Chinese Bel Canto should have its own system. Finding muscle balance through repetition is the key to articulating Bel canto." Shi Yijie said.
Chen Wei, a performance educator and professor at the China Conservatory of Music, discussed "the basic qualities of role shaping in Chinese national opera" and shared three key points: "First, we should deeply pick up styles and love Chinese land and farmers; The second is to have superb singing skills; The third is to forget the self and devote oneself to the characterization, transforming from the real life to the real art." The second section takes "Field work from an international perspective" as the direction. Liang Ning, a mezzo-soprano singer and professor of the School of Music and Dance of Huaqiao University, talks about two points in "The necessary qualities for Chinese opera performers to enter the international stage". One is to be diligent; the other is to grasp the importance of language for singers and train the muscle memory of different languages. "Singing Chinese songs with the muscle memory of the Chinese language fully demonstrates the richness of the Chinese language. Diligent work will lead to success." 'she said.
Singer Guo Sen, professor of Shanghai Conservatory of Music, with her own experience, talked about the theme of "young singers how to store energy in a low key, efficient eruption, smooth endurance", she very much agreed with Liang Ning and Shi Yijie on Bel Canto express Chinese language thinking. She believes that the most important thing for actors is to have a clear understanding of their own conditions and works, and to master the "degree" of performance, whether it is the "degree" of vocal technique or the "degree" of musical expression.
Lao Luo, a composer, producer and director of Chinese new music art, has been in China for many years. In this forum, he spoke from the perspective of outsiders to insiders, narrated his unique views on Chinese culture and folk music, and talked about how to further develop Chinese folk music views and suggestions in the world. He said that the key to promoting Chinese music is first "love", and then he shared three characteristics of Chinese vocal music: "One is the richness of vocal methods, the second is' rhyme ', and the third is the diversity of grace notes."
Xiao Mei, musicologist and professor of Shanghai Conservatory of Music, discusses the "root" of culture from the perspective of musical anthropology, based on the theme of Chinese and foreign echoes with the old gong. She believes that going into the field requires dual musical ability to better describe the local music culture. At the same time, she reminds vocalists to join hands with musicologists to explore where the classical Chinese vocal music is, how to face the flowing relationship with tradition (classical), and how to apply the rich folk singing methods into the stage art.
The third section takes "vocal music art teaching and talent training" as the main content, centering on discipline construction and talent training. Tian Qing, a musicologist and honorary president of the Chinese National Academy of Arts, opened the section with "How to further effectively interact national folk culture and contemporary Chinese vocal music school". Tian Qing felt that when she came to the vocal music season in Shenzhen, she heard the singer's thinking and thinking, and saw the artists learn from the folk with practice. "Today, our vocal music class and academy show a high respect for and conscious return to our national folk music."
Then, vocal music educator Zou Wenqin, based on years of teaching experience and many successful cases, put forward concrete teaching suggestions for vocal music students in the direction of "protecting the individuality of unique timbre in the commonality of scientific methods". "Sing with your own voice. Follow your own path. Don't try to imitate anyone else." "Singers can't lose their voice, they can't lose themselves," Zou said. If everyone has a good voice, the stage of Chinese vocal music will be colorful."As a conductor who has made many brilliant achievements in the world opera stage, Lu Jia also spoke from the perspective of a conductor this time about "the requirements of The Times for Chinese opera performers in the creation of Chinese contemporary opera". Based on his frequent cooperation with the young generation of opera singers, he believes that the key points of contemporary opera performance are: first, to understand the traditional Chinese music, to build awareness; Second, to establish an understanding of the role, rather than focusing on the individual's voice and stage image, the character and soul should be more closely integrated with the role; The third is to pay attention to sound and language and breath processing.
Forum Finally, Lei Jia shared "the practice of 'Shenzhen Vocal Music Season' triggered thinking on the development of Chinese vocal music", introduced the teaching characteristics of "Shenzhen vocal music Season" on the construction of vocal music discipline enlightenment. Lei Jia said, vocal music season is like a piece of experimental field, a seeder, I hope that the practice here diligently seek, can help in vocal music teaching mode, teaching methods have continued to optimize and expand the space, encourage students to pay full attention to the efficacy of theoretical summary.
< /p>The setting of the fourth "Shenzhen Vocal Music Season" dual forums in 2022 fully demonstrates the professionalism and leadership of this activity, and further expands the professional and social functions of "Shenzhen Vocal Music Season".
