1、1Expression to the Different Singing Skills Chosen in Different Music WorksAbstract. The expression of the skills to sing a song is very important， while vocal music， as the most characteristic art form among a great number of performing arts， is a perfect combination between the performer and the “
2、instrument“ （i.e. throat）. The analysis and research on the expression of the skills to sing a song is of very important guiding significance for singers to learn the expression of the skills to sing a song and the feeling explanation to a song， and can make a comprehensive improvement to the singin
3、g level of singers. In this paper， the different singing skills chosen in different music works are mainly introduced. Key words： Music Works； Singing Skills； Expression 1. The importance of singing skills The vocal music expression in the singing of a song is very important. If the essential meanin
4、g of song is the soul of a singer， the vocal music expression is the singers appearance. The purpose of vocal music singing is to convey the rich spiritual connotation in music works for subsequently moving 2the audiences； as long as singers understanding of music works is perfectly combined with th
5、e feelings expressed in music works and the music works is better interpreted in singing through his own singing skills， the listeners can be resonated with the music works in vocal music singing under the combination of techniques with art， so that the purpose of the singing can be achieved 1. Sing
6、ing skills are means， but also ways. In singing art， nice voice and superb skills are always required； the use of singing skills is a mean and way of expressing art， but also the material foundation of the art. “Skill“ is important， and there is no “art“ if there is no “skill“， so it is impossible f
7、or a perfect art expression to appear. The power of skills directly affects the level of art. Therefore， attention should be always attached to skills. The exquisite and sound skills can make the flower of the art more beautiful and moving， while an enhancement to the artistic accomplishment can giv
8、e full play to the role and strength of skills. 2. The specific expression to singing skills Xian Xinghais vocal music works Yellow River Cantata， in order to reflect the indomitable national spirit of Chinese nation， gives full play to the vocal music skills， and also 3pushes the beauty to the clim
9、ax； the male chorus in Yellow River Chantey gives an expression to the “beauty of power“ and the “ beauty of wild nature“； the baritone in Ode to the Yellow River gives an expression to the “beauty of broadness“ and the “beauty of boldness“； the female chorus in Ballad of the Yellow River gives an e
10、xpression to the “beauty of mountains and rivers“ and the “beauty of grief“； the round singing in Defending the Yellow River 2 gives an expression to the “beauty of power and grandeur“ and the “beauty of fighting will“； the mixed chorus singing in Roar！ The Yellow River gives an expression to the “b
11、eauty of unity“ and the “beauty of brave advancement“. The perfect interaction between the beauty and the national spirit expressed by all forms of vocal music skills makes Yellow River Cantata an immortal masterpiece in the history of Chinese vocal music. When Italian folk song Oh！ My Sun was sung
12、by Pavarotti Lottie who was the worlds famous tenor singer， the strength of singing section A was controlled very properly relying on relaxed and soft voices； the continuous tunes were sung with gradually strong and gradually weak techniques according to the tune ups and downs； the feelings of missi
13、ng and longing for the lover were kindly， vividly， and implicitly expressed in section B 4in the way of narration； the voices were forceful and powerful， and full and bright voice suddenly rose in high pitch， and the brilliance of the sun was expressed with the superb vocal skills so that the praise
14、 to the beloved girl was expressed； the final high pitch was extended freely， and the music and the feelings were promoted to the climax. As a Chinese saying goes， listeners will not be moved if there are no singing skill and true feelings. The dialectical relationship among skills， feelings， and pe
15、rformance in art was vividly generalized， and simultaneously the important role and position of “skills“ in the vocal music art were demonstrated 3. In European romanticism music art， the national music schools such as Griegs Norway style， Liszts Hungary style， and Jean Sibelius Finnish style in dif
16、ferent countries showed their own national style continuously， and these different national styles sourced from composers understanding and use of the unique national creation techniques. For example， Italian bel canto style depends on the purely “sound tones“， natural pronunciation， and loud volume
17、 of singing skills， and contains proper resonance， mellow and full coherent tones， heavy tuning method， stable 5continuous tones， clever glide， regular fade-in and fade-out， and grace notes such as tremolo， appoggiatura， arpeggios， and echo. China is a country owning a large area of territory， and t
18、here is a big music style difference between different national minority groups and between different regions. In terms of the northern and southern dialects， the northern dialect features higher voice tone value and is full of great ups and downs， and also its language is concise and agile， and the
19、 tones and melodies jump frequently， because of the geographic factors； the southern dialect features multiple changing-ever tone values， and some even have seven-tone or nine-tone， the ups and downs of tones are small， and the common systematic tunes give top priority to stability and smoothness. A
20、s a result， for the same song Jasmine， it is sung in the southern dialect very delicately in terms of rhythm and melody and listens very gently， lovely， and beautifully， and also the tunes are stable， smooth， and gently； it listens very simply and nimbly in terms of rhythm and melody， the ups and do
21、wns of tones are great and seem to be very humorous， open， bright， and quick. The different language skills and tune embellishing skills formed in different dialects play a great effect on the formation of singing styles. 6According to different needs， these techniques can be appropriately used for
22、expressing national or regional styles such as the use of falsetto in Hubei folk song Delicious Fish and Rice in Dongting Lake， the use of straight voice in Shaanxi folk song Yellow River Chantey， the use of glide in Jiaofu tone， the use of shouted singing in Yunnan folk song Putting Your Horse， and
23、 the use of Nasals in Hebei folk song Meng Jiangnu Cries at the Great Wall. The use of these unique skills in different music works gives an expression to the unique characters and styles. In the traditional style of singing skills， there are special skills of using voices. For example， the voice of
24、 Mongolian folk singers is often higher when singing a long tone and the decorative effect of horse head string instrument is played using a different tremolo method； Uygur folk singers are used to rapidly alternating the voice forward and backward， so as to reflect a humorous， interesting music sty
25、le； Tibetan singers use the pressure of throat for showing the deep and open feature of songs so that voice swings to a greater extent， and also the decorative tones are produced； in the folk songs of the Dai minority， the voice is nasal because of the characteristics of the language. Therefore， fro
26、m the use and expression of these 7singing skills， people can get an understanding of the vast Mongolian grasslands， the singing and dancing Uighur girls， the blue， sky， and white cloud above Qinghai-Tibet Plateau， and the infinite amorous feelings in the beautiful hometown of peacocks 4. Under the
27、influence of multi-music culture， the vocal music culture of China not only attains a result from the combination with the foreign music culture， and also there are the mutual introduction and fusion in the domestic singing schools and folk customs. A “generally popular“ style is produced from the i
28、ntegration of the popular music singing styles and skills represented by Tan Jing and Lida Wang into the national vocal music； foreign opera aria is sung by the singers represented by Liu Huan using the general popular singing skills （e.g. Liu Huan used to be very popular in singing Nessun dorma Fro
29、m Opera Turandot cooperatively with Dai Yuqiang and Changyong Liao at Beijing Music Festival） ； Dai Yuqiang and Yan Xiumei cooperatively song a Shanxi folk song Red Peach Blossom and White Apricot Flowers， in which the opera singing skills and folk singing skills were absorbed in the new national vo
30、cal music； in the development of vocal music culture， the mutual absorption and use of skills promoted the multi-development of vocal music cultural health， 8so that the vocal music culture of all countries and nations has been constantly in innovation and development. The core of all artistic pursu
31、its lies in “beauty“， which was different from the beauty of nature and the beauty of society. The beauty of art is created by artists， and is expressed in the vocal music art using the specific techniques and skills in accordance with the laws of beauty. In vocal music art， vocal music skills are t
32、he specific tools and means of representing beauty in vocal music art. In the theory and practice activities of vocal music art， the important position and role of skills should be correctly recognized， so that the healthy development of the vocal music art is promoted. Feeling is the overall tone o
33、f works， a reflection to the overall effect of music works feelings， and also a comprehensive demonstration to the specific feelings of the works. For example， Mei Niang was music works for expressing a patriotic overseas Chinese youth， who returned to the motherland from taking the trouble of trave
34、ling a long distance and participated in the war of resisting “128“ event. He was badly wounded in the war and lost his memory， while his fiance Mei Niang was desperate to the smoking motherland from the Southeast Asia regardless all difficulties just for looking 9after her fancy man. Many happy mem
35、ories and earnest calls did not awaken him losing memories， so Mei Niang finally song the music works desperately. Therefore， the whole feeling tone is sadness in singing this music works， and how to understand the sadness should be in combination with the actual conditions， and the expression will
36、be easier if it is thoroughly understood 5. The singing of I Love You， China is taken for example： the transformation of the feelings is reflected in the change of speed， and the introduction part of this song is transferred to the middle part for narrating the feelings through loudness， boldness， s
37、lowness， and freedom rhythms， and the speed changes from free to moderate and is contrast to the introduction； a feelings comparison is formed， and the strength should be controlled and adjusted from songs feeling control and adjustment； the upstream melody is in the major position of melody， so tha
38、t the praise of the motherland is expressed； the tones are joyful. Finally， the comfortable， natural， and smooth feelings are conveyed through rhythms， and simultaneously a good foundation is laid for the passion expressed with high pitch in the final free rhythms. Therefore， the skills of expressin
39、g music feeling in singing a song are necessary. This point should be focused in the 10teaching， but should be never ignored， because its play is closely related to the expression to feelings. 3. Conclusion The contents of the vocal music skills in different music works are different. Therefore， the
40、 expressed feelings are also different， while constantly thinking about the connotation within music works is more important. In this way， music can be sung in the hearts of people. References 1 Jianting Liu. Discussion on the Vocal Music Art Performance in Ancient Literatures J. 2009 （02）. 2 Yazhou
41、 Qiu. Discussion on the Performance Related Training Methods and Aesthetic Effect of Vocal Music Works J. Journal of Henan University： Social Science Edition， 2010， 4. 3 Xiaolin Zhao. Discussion on the Feeling Expression in Music Performance J. 2009. 4 Tianli Liu. Key points of the General Singing Methods J. Beijing Broadcasting Institute Press， 2011. 5 Jianmin Guo. Science of Vocal Music Culture J. Shanghai Music Publishing House， 2012.
