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中国传统戏曲以音色区分角色,西洋歌剧则以声部安排人物。因此中国舞台便有生、旦、净、丑诸行当,西洋舞台便有S(女高音)、T(男高音)、A(女中音)、B(男中、低音)等声部。上个世纪初,西洋Bel canto(美好的歌唱,简称“美歌”或“美唱”)学派传入,中国声乐家对其由陌生、理解到熟练掌握,历经坎坎坷坷。八十年代以后,随着中外艺术交流的不断深入,中国声乐艺术凯歌高奏,年轻的歌唱家逐步走上国际舞台,取得令西方人震惊的佳绩。今天,如果哪一位“美歌”选手从国际声乐大赛上凯旋,国人绝不会感到意外。两千零一年金秋十月,中国音乐学院声乐教师马金泉在国家图书馆音乐厅独唱音乐会的成功举办,可以说是我国“美歌”歌唱家非凡实力的又一次的展现。
Chinese traditional opera uses timbre to distinguish roles while western opera arranges figures with voices. Therefore, the Chinese arena has live, den, net, ugly all kinds of business, the Western arena S (soprano), T (tenor), A (alto), B (male, bass) and other voices. At the beginning of the last century, the Bel Belt Cantonese (beautiful singing, “beauty song” or “beauty singing”) school came in. The Chinese vocalists were unfamiliar with, understood and proficient in learning from their experiences. Since the 1980s, with the continuous deepening of artistic exchanges between China and other countries, the vocal performance of Chinese vocal art has brought young singers to the international stage and achieved astounding results in the West. Today, no one will be surprised if a “beauty song” player triumphs from the International Vocal Competition. In the autumn of 2001, the success of Ma Jinquan, a vocal music teacher at the China Conservatory of Music, in the solo concert of the National Library Concert Hall can be said to be another manifestation of the extraordinary strength of the singer-songwriter in China.