Opinions On The Sangzhi Folk Songs Singing In Hunan Province

This paper mainly focuses on the singing characteristics of Sangzhi folk songs from the perspective of a national vocal music learner,and explores some singing characteristics of Sangzhi folk songs.Based on these characteristics,the author's singing understanding and experience are extended.Meanwhile,it is a relatively important and tough problem to the inherit Sangzhi folk songs at current stage.As a singer with Hunan nationality,the author hopes to develop and contribute to the hometown's folk songs through what have been learned.Moreover,the singing of national vocal music is inseparable from the exploration and research on local folk songs.Our singing methods also draw on the local folk songs that have been sung to this day.The focus and difficult point of this paper are analysis and exploration of singing characteristics of the example song Chestnut Blossom in a Line.At the same time,combining with singing styles of some other types of songs,this paper summarizes some general points that should be paid attention to when singing Sangzhi folk songs,and some suggestions to these points are given as well.At present,the researches on folk songs in other regions are not unusual,for example,northern Shaanxi folk songs,Errenzhuan,song-and-dance duet,Qinghai flower,and inner Mongolian long tune.However,there are few researches on Sangzhi folk songs from the perspective of singing.Therefore,this paper consists of the following parts.The first part gives a brief introduction to Sangzhi folk songs,which involves its source,category and position.Then this paper takes Chestnut Blossom in a Line as an example to analyze the general characteristics of Sangzhi folk songs in singing aspect,which includes the construction of the sense of lyrics,the language characteristics in singing process,and the characteristic diminution used in local folk songs.Singing songs need the support of the sense of picture,and singing Sangzhi folk songs are very obvious in the construction of the sense of picture.In terms of language,the language of Sangzhi folk songs is quite different from Mandarin.It belongs to the Southwestern Mandarin.The sound of “-er” is used more often,and retroflex sound is also widely used.Finally,this paper analyzes its characteristics on diminution.The use of diminution in singing is an important reason for the charm of local folk songs.Sangzhi folk songs are very rich in using diminution.It also has a perfect combinationof dragged tune,closing tune and shaking tune which makes the song more distinctive.Based on the exploration of these characteristics,the author concludes some ideas on how to well sing Sangzhi folk songs.It is also discussed from three aspects,which may meet the idea of “see three,see happiness” of Sangzhi people.The first part discusses the use of singing techniques.Singing songs is based on certain singing techniques.However,there is a difference of singing techniques between people who systematically study national vocal music and folk artists,which asks us to achieve an effective and organic combination of “commonality” and “personality”for using singing techniques.Therefore,this paper emphasizes the use of “tones” and“sound positions”.After that,this paper talks about the “emotion” and “land” of Sangzhi folk songs in the singing process.These two concepts are actually abstract,and it can also be interpreted as how to grasp its charm.Finally,this paper discusses the “recreation”,which is a very important point in the expression of the work.It is a manifestation of the performer's sense of music and also an expression of the performer's full initiative.In the fourth part,this paper talks about the inheritance issue of Sangzhi folk songs singing.For the inheritance of folk songs singing,it requires not only the record of the music score,but also the record and research on the singing techniques.Inheritance determines whether this art form can continue to the future.Indeed,the significance of inheriting Sangzhi folk songs is not limited to itself.It is a contribution to the national cultural development strategy and a supplement to the Chinese artistic diversity.