武秀之教授“三女合一”唱法之剖析

发布时间：2017-12-30 21:26

本文关键词：武秀之教授“三女合一”唱法之剖析　出处：《广西艺术学院》2012年硕士论文　论文类型：学位论文

【摘要】：随着声乐艺术的不断发展，现如今在唱法上出现了许多分类，唱法多元化已成为一种全新的发展趋势，它促进了声乐艺术在风格和演唱上的革新。河南大学武秀之教授是我国著名的民族声乐教育家，她是中国声乐民族化的开路先锋，也是声乐演唱多元化的倡导者。她独创的“三女合一”唱法声乐表演教学理论体系是我国民族声乐教育的重要组成部分，为中国民族声乐朝多元化方向发展提供了宝贵的经验。 “三女合一”唱法声乐表演教学理论体系实际上是将西洋歌剧中的“茶花女”、民族歌剧中的“白毛女”与中国戏曲中的“七仙女”三种唱法的演唱特点相互融合而成。因此这种唱法又被称做“三结合”或“三合一”唱法，其技术核心是“假声位置真声唱法”。笔者本科学习期间有幸跟随武秀之教授的得意弟子邱雅洲教授学习声乐，邱老师是武先生“三女合一”唱法的直接继承者。从她那里，笔者学到了系统的“假声位置真声唱法”发声技巧，对武先生的“三女合一”唱法教学理论感同身受。作为“三女合一”声乐教学理论的见证者和受益者，笔者深切地感受到“三女”唱法的科学性和实用性。本文通过对武秀之教授的艺术人生、“三女”唱法的历史背景、艺术特色以及美声、民族、戏曲三种唱法的相互比较，着重对“三女合一”唱法声乐教学理论进行剖析探讨，力求更加全面、细致地概括总结出这一理论的可行性。笔者有志于将这一理念介绍给更多的声乐学习者和爱好者，从而为中国的民族声乐教育事业贡献自己的一份绵薄之力。本论文共分以下几个部分：引言：概括总结了本课题的选题来源、课题研究的目的及意义、国内研究现状、本课题研究的方法及创新点。资料显示目前研究零散偏少，缺乏深度。第一章：“三女合一”唱法概述。本章介绍了武秀之教授坎坷曲折的艺术人生、“三女”唱法的历史背景及艺术特色。分别阐述了美声、民族、戏曲三种唱法的发展脉络及其特点。第二章：美声、民族、戏曲三种唱法的辩证统一。本章通过对美声唱法与民族唱法、民族唱法与戏曲唱法、美声唱法与戏曲唱法的异同进行比较研究，，论述了三种唱法之间的共融互补性。第三章：“三女合一”的教学理念。本章介绍了“三女合一”教学理论的核心、训练手段以及教学实践，此章是本篇论文研究的重点。第四章：“三女合一”唱法的意义。本章介绍了“三女合一”声乐教学理论的实用性、可行性及其重要的创新意义。结语：在简要总结全文的基础上，对“三女合一”声乐教学理论做了综合性的评述，并提出自己对中国民族声乐教育的认识和思考。
[Abstract]:With the continuous development of vocal music art, there are many classifications in singing nowadays, and the diversification of singing has become a new trend of development. It promotes the innovation of vocal music art in style and singing. Professor Wu Xiuzhi of Henan University is a famous national vocal music educator in China and she is the pioneer of the nationalization of Chinese vocal music. She created the "three women in one" vocal performance teaching theory system is an important part of the national vocal music education in China. It provides valuable experience for the development of Chinese national vocal music in the direction of diversification. "three women in one" singing vocal music performance teaching theory system is actually the western opera "camellias female". The singing characteristics of "White-haired woman" in national opera and "Seven Fairy" in Chinese opera are combined with each other, so this singing method is also called "three combination" or "three in one" singing method. Its technical core is "false-voice position true singing method". During my undergraduate study, I was fortunate to follow Professor Wu Xiuzhi's proud disciple, Professor Qiu Yazhou, who was the direct successor to Mr. Wu's "three women in one" singing method. The author has learned the systematic phonation technique of "false position real singing", and he shares the teaching theory of "three women in one" singing method of Mr. Wu. As the witness and beneficiary of "three women in one" vocal music teaching theory. The author deeply feels the scientific and practical nature of the singing method of "three women". Through the artistic life of professor Wu Xiuzhi, the historical background, artistic characteristics and the beauty and nationality of the singing method of "three women". The comparison of the three singing methods of traditional Chinese opera focuses on the analysis and discussion of the vocal music teaching theory of "three women in one" in order to be more comprehensive. The author hopes to introduce this idea to more vocal music learners and lovers, thus contributing his own contribution to the cause of Chinese national vocal music education. This thesis is divided into the following parts: Introduction: this paper summarizes the origin of the topic, the purpose and significance of the research, the present situation of domestic research, the methods and innovations of the research. Chapter one: introduction of singing method of "three women in one". This chapter introduces professor Wu Xiu's bumpy artistic life, historical background and artistic characteristics of "three girls" singing method. The development and characteristics of the three ways of singing opera. The second chapter: the dialectical unity of three kinds of singing methods: beauty, nationality and opera. This chapter makes a comparative study on the similarities and differences between the Bel canto and the national singing, the national singing and the opera singing, the beauty singing and the opera singing. This paper discusses the mutual complementarities between the three singing methods. This chapter introduces the core, training means and teaching practice of the teaching theory of "three women in one", which is the focus of this paper. Chapter 4th: the significance of the singing method of "three women in one". This chapter introduces the practicability, feasibility and important innovation significance of the vocal music teaching theory of "three women in one". Conclusion: on the basis of a brief summary of the full text, the author makes a comprehensive comment on the theory of "three women in one" vocal music teaching, and puts forward his own understanding and thinking about the Chinese national vocal music education.
【学位授予单位】：广西艺术学院
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J616

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