Research Of "Logic Between Different Songs Of Vocal Divertimento"

Opera and Lieder are the most important and crucial components of European classical music, of which, lieder, a remarkably individualized art genre, has become an indispensable part for vocal music study and research. In the lieder the vocal divertimento always received warm welcome from lieder learners, and it was usually performed at the concert, which should be attributive to two factors: 1. The vocal divertimento integrates several lieder into a whole so as to make the tune more graceful and fair-sounding 2. Compared to single lieder, vocal divertimento can present more abundant emotion and experience in an integral and uniform form.Vocal divertimento, originally meaning the"Song-cycle Dance", is a music divertimento form fixed during the flowering period of lieder. Different songs in the vocal divertimento connect with one another through the content and music style. Since songs of the vocal divertimento are unified in specific content or form (i.e., these songs are independent and connected to one another), there must be a logic connecting these songs. On the one hand, the performer needs the logic of singing to construe the work more definitely, and the audience also requires the logic of appreciation to support their demands for beauty appreciation. Over past years, the public showed more and more interest in vocal divertimento, thus we should resolve a series of problems, such as how to construe, understand, and appreciate divertimento works more profoundly? As to the divertimento work with high artistic value that was unfamiliar to domestic audience and seldom performed at home, how to facilitate the performer to introduce the work to the audience and how to enable the audience to indulge them into work appreciation more speedily?Research of"Logic between Different Songs of Vocal Divertimento"aims to provide a method so as to enable performers and appreciators to become more logical during the process of performing or appreciating the divertimento work as well as to logically unify the divertimento instead of separating it into independent lieder. If being slightly modified, such method can be possibly applied into large-scale music and artistic forms like instrumental music divertimento and suite. Of course, these large-scale instrumental music works are in more urgent need of logic compared to vocal music works because they lack direct language presentation. "Case Study"will be mainly employed in our research, and we will detail the logic formation and operation method through the logical analysis on Robert Schumann's vocal divertimento "Dichterliebe". On the basis of referring to previous research and analysis on the work's literary content and music, we will expound the"Logic"issue in vocal divertimento through comparing different renowned signers and performers'tone control, speed & strength alteration, and processing to different stresses when they are singing or performing the work.The research is of strong innovation, practicability, and maneuverability, and it can assist different persons in resolving specific problems. In addition, it provides vocal divertimento learners with the method to comprehensively master the work, provides senior singers with individualized performing solution, and provides the performers and appreciators with a connection bridge for communication, thus it is of high academic value in vocal music theory study field.