pronunciation in singing

pronunciation in singing的基本解释

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吐字

与pronunciation in singing相关的网络例句 [注：此内容来源于网络，仅供参考]

In the study of the performance of the song, the paper makes a review of the pronunciation of vowels and consonants in German, introduces some frequent problems in singing the song and proposes my own opinions on how to deal with them. In the exactness and rhythm of the divertimento, based on my experience of performance, I sum up what should be paid more attention to in the work, emphasizing the creative rhythm and the value of notes in each stanza. It also analyzes the syntax and breath, the control and performance of shade, the pace and tempo. From different perspectives, the importance of the emotion in the divertimento Frauenlieb und leben op.42 is exactly explained. There is a detailed explanation of the eight sections in the paper.

更多己的处理方法；在声乐套曲演唱中音准与节奏的分析方面，结合自己的演唱体会，总结出演唱这部作品时音准方面要注意的地方，突出了舒曼作品最具独创性的节奏，强调了音符在每小节中的价值；并从乐句与呼吸、音色的控制与表现、速度与力度等方面分析了本声乐套曲演唱的音色与力度；从多个方面阐述声乐套曲《妇女的爱情与生活》中情感的重要性，以及怎样把握、运用和表现作品的情感；着重对本套曲八首分曲的演唱处理进行了系统分析；通过听赏不同大师对此套曲的演唱版本，以期在声音的运用、乐句的划分、速度的安排、旋律的演唱、歌曲的处理方法等方面得到有益的借鉴，扩大我们的艺术视野，在演唱实践中给予启发和熏陶。

Shen Chongsui'theory of Kunqu ,which is mainly embodied in two works he wrote named Handbook for Qu-singing and Correcting mispronunciation in singing of Xiansuo-Qu, focus on the pronunciation in singing Kunqu.

沈宠绥的曲学理论侧重研究曲唱的字音方面的问题，集中体现在《度曲须知》和《弦索辨讹》两部著作中。

This article consists of a three-chapter text, a brief instruction and an epilogue: achievements of the research on bel canto and thefolk singing as well as their relation in China were concluded briefly in the introduction. In chapter 1, the origin and characteristicsof bel canto and the folk singing, together with their fusion processin present China was illustratively revealed though historical review. In chapter 2, bel canto and the folk singing are analyzed in technical aspects like breath, vocalization, pronunciation, and resonancetogether with comparison on their similarities and differences.; Chapter three is concerned with the application of bel canto in folk singing and nationalization of bel canto as well as the feasibility oftheir fusion from technical aspect. Moreover, it is illustrated thatthe fusion of these two vocal arts in china not only conform to social development and mass aesthetic requirement, but also has great influence on the education and development of Chinese vocal arts. Epilogue is to express wishes to future Chinese vocal arts based on the trend of multi-culture fusion and innovation.

本文共由三章正文和简短的绪论及结语构成：绪论粗略总结国内关于美声唱法、民族唱法及二者关系的研究已有的成果；第一章尝试通过历史回顾直观展现美声唱法、民族唱法之由来、特性及二者在当代中国对话融合之进程；第二章侧重从呼吸、发声、吐字、共鸣等技巧层面分析美声唱法、民族唱法各自的技巧特点并比较二者之间的异同；第三章除着重探讨美声唱法的民族化、民族唱法的美声化及两者融合共促于技术层面之可行性外，更试图说明此二种声乐艺术的融合发展在中国当前不仅是符合社会发展趋势和大众审美要求，更将对中国声乐艺术的教育和发展具有重要影响；结语则就多元文化融合创新之大趋势表达对未来中国声乐艺术的希望。