播音发声教学中的“情声气结合”训练技法

"情声气结合"在播音发声教学中经常被提及,这既是学生提高有声语言美感质量的关键,也是较容易被忽视的问题。本文拟从日常播音发声教学实践出发,尝试探讨关于教学中"情声气结合"的训练技法,以求在理论上更加清晰、实践中更加合理指导学生快速掌握"情声气结合"的运用要领。

浅谈歌曲演唱的声气结合——二次递进用气法唱高音

高音,学唱歌的人都梦寐以求,特别是对男高音的要求更是如此。如何获得歌唱的高音？如何自如的驾驭高音,并长时间气息的保持？这些都要归功于对气息的掌控和自身条件的具备,才能做到声音气息的完美结合,唱出悦耳动听且轻松的高音。

播音基础教学初探——播音发声中情、声、气的关系研究

情、声、气的有机结合在播音语音发声教学中经常被提及,这是学生提高语言质量的关键。本文拟从气与情、气与声的辩证关系出发,寻找理论依据与实践依据,考察在播音发声中情感与气息的相互作用以及语音与呼吸的关系,从而就情感、声音、气息表现之间的关系提出自己的看法。

声乐小组课教学笔谈

当今艺术院校的艺术教育从精英化走向大众化,艺术教育遇到了新的机遇和挑战,探索多元化的教学模式,是新时期赋予我们的研究课题,我们只有勇于探索和实践,才能把握好个性和共性的关系。声乐虽然是个性很强的学科,但只要抓住了共性教学,就能起到提纲挈领的作用。

中职音乐专业学生如何学好声乐

现在职业中学学习音乐专业的学生,从高一入学大部分学生都没有底子,在上小学、初中都没有专业、系统地学过声乐。而且他们大部分都是来自农村,家庭经济都不是太好。面对这样的学生,作为声乐专业的教师,要从六方面来研究中职音乐专业学生如何学好声乐这门课,使其考上高等院校的艺术类专业,圆其大学梦。

论“有声语言”的基本功训练

"有声语言"是播音员、主持人等依据稿件、提纲或腹稿准确传递信息,表情达意,进行再创作,并建立主持人形象的主要手段。通过播音员、主持人在发声训练方面的特点及基本功训练的内容,把基本功训练分为学习熟练阶段、习惯养成阶段、情声气的结合阶段等三个阶段。通过对这三个阶段的基本功训练方法的阐述,说明了"有声语言"的基本功训练是一个循序渐进的过程,只有坚持不懈,才能达到目的。

Unified Aerodynamic-Acoustic Formulation for Aero-Acoustic Structure Coupling

Conventional coupled BE/FE （Boundary-Element/Finite-Element） method and modeling of structural-acoustic interaction has shown its promise and potential in the design and analysis of various structural-acoustic interaction applications. Unified combined acoustic and aerodynamic loading on the structure is synthesized using two approaches. Firstly, by linear superposition of the acoustic pressure disturbance to the aeroelastic problem, the effect of acoustic pressure disturbance to the aeroelastic structure is considered to consist of structural motion independent incident acoustic pressure and structural motion dependent acoustic pressure, which is known as the scattering pressure, referred here as the acoustic aerodynamic analogy. Secondly, by synthesizing the acoustic and aerodynamic effects on elastic structure using an elegant, effective and unified approach, both acoustic and aerodynamic effect on solid structural boundaries can be formulated as a boundary value problem governed by second order differential equations which lead to solutions expressible as surface integral equations. The unified formulation of the acousto-aeroelastic problem is amenable for simultaneous solution, although certain prevailing situations allow the solution of the equations independently. For this purpose, the unsteady aerodynamic problem which was earlier utilizes well-established lifting surface method is reformulated using Boundary Element （BE） approach. These schemes are outlined and worked out with examples.

梅兰芳演唱艺术技巧

梅兰芳的演唱艺术是京剧演唱艺术中的一份精华,也是民族声乐艺术的宝贵财富。梅兰芳善于博采众长,并融化在自己的演唱之中。梅兰芳用气、发音的合理方法,使之嗓音高宽清亮、圆润甜脆,能收能放、刚柔相济、操纵自如,直到晚年,仍然能唱,而且还提高了一个调,这足以证明他演唱艺术的方法得当、有效。