民族声乐创演的实践新路径——以龚琳娜为例

The New Path of Practice of Ethnic Vocal Music Creation and Performance--Taking Gong Linna as an Example

龚琳娜的民族声乐作品因独具“个性”而一直备受声乐学界和广大乐迷关注。以其演唱的各地传统民歌和改编、新创民族声乐的作品为例,无论是演唱发声还是乐器编制方面都体现出她独有的风格,特别是通过传统民歌润腔与舞台室内乐概念的结合,使得她创作、表演的声乐作品在保留传统民歌的民族和地域性音乐语言特色及独特演唱技法的基础上,又为当代民族声乐艺术在崭新的舞台化新艺术音乐道路上大胆实践、积极探索。本文以《小表妹》《好花红》为研究对象,分析龚琳娜创、演唱作品中民族声乐创演的理论基础以及实践价值,并在此基础上探索中国民族声乐的发展与前瞻。

Gong Linna’s folk vocal works have always attracted the attention of vocalists and music fans because of their unique“personality”.Taking her traditional folk songs and newly created folk vocal works as an example,her unique style is reflected in her singing and vocalization as well as instrumentation,especially through the combination of traditional folk songs and the concept of chamber music on stage,which makes her create and perform vocal works on the basis of retaining the ethnic and regional musical and linguistic characteristics of traditional folk songs and unique singing techniques,and also boldly practicing and actively exploring the new artistic and musical path of stage-oriented contemporary folk vocal music.The art of contemporary folk vocal music is boldly practiced and actively explored on the new road of new art music on stage.This paper takes“Little Cousin”(小表妹)and“Pretty Red Flowers”(好花红)as the objects,analyzes the theoretical basis and practical value of Gong Linna’s creation and performance of folk vocal music in her works,and explores the development and foresight of Chinese folk vocal music on this basis.