The Research On Liu Zongqin’s Singing Voice Of Henan Opera

Henan Zhuizi master Liu Zong Qin is a state accredited intangible culture heritage successor, and wonthe “Chinese opera peony award–life achievement award” in2006. She is a representative figure of HenanZhuizi Opera. Together with Mz. Liu Gui Zhi, and Mz. Liu Ming Zhi, they are named as “the Three Lius ofZhengzhou”. Mz. Liu is skilled in long book singing; with a bold and forthright style, she received wideapplause both at local and national level. This paper studies Mz. Liu Zong Qin’s Henan Zhuizi aria,revealed her innovation and revolution in promoting Henan Zhuizi singing and performing, thereforproviding beneficial suggestions for folk music teaching, especially for folk music teaching with regionaltraits.After referring to numerous documents, music scores, recordings, while focusing on the interviewwith Mz. Liu Zong Qin, and subsequent consulting with many Henan Zhuizi researchers, as well asphilology, musicology, pedagogy and such research methods, this paper’s research and writing is rolled outorderly.This paper features4parts,1stpart is “Mz. Liu Zong Qin’s experience and achievements as an artist”,which mainly introduces Mz. Liu’s life experience, succession relations, and art accomplishments. It hasstated that Mz. Liu’s aria style is bold, forthright, and unconstrained, which highlights the folk culture. Mz.Liu and Zhao Zheng represented the highest aesthetic value of Henan Zhuizi for the later half of the20thcentury.The2ndpart is “Mz. Liu Zong Qin’s Zhuizi aria style”, which mainly studied Mz. Liu’s ariacharacteristics, and stated that her aria is melodious and changeable, outstanding in phonation, so her voiceis the iconic expression of “Ying Gong Da Diao” style of Xilu Zhuizi. Mz. Liu’s aria is mainly usingnarrowed phonation; assisted with other types of phonation, vivid articulation, and smooth breathing, shehas artistically integrated Henan local language into the aria phonation. Aria is mainly consisted oftwo-intonation, long book is divided into phases “starting”,“leveled”,“quick&pointy”,“dropping”–fourparts. The3rdpart of the paper is about “Mz. Liu Zong Qin’s Zhuizi performing characteristics”, whichstated that Mz. Liu’s performing is forceful, vigorous, and articulate; she pays particular attention to the useof breathing technique. Her voice is stable and sincere, posture is simple and poised, movements focusing on hand gestures, facial expressions is varied, and eyes reflections is lively and meaningful. The4thpart is“Mz. Liu’s Zhuizi style and folk music local teaching innovation”, which reveals that Mz. Liu’s aria isusing model voice, devoting particular effort to the use of air flow through abdominal;“singing” is thefocus, half-time singing and half-time speaking, making the aria more changeable and vivid. Mz. Liu’s ariastyle is able to provide folk music teaching valuable references. This paper concluded that promoting thecommunication and sharing between folk music professors and folk artisans, encouraging music scorewriting, extending dimensions of practices, carrying out multiple forms of shows and performances, shallhelp to improve students’ aesthetic hands-on abilities and skills.