Ying Shangnengs Using Words to Express Tones: The Artistic Awakening of Chinese Phonology and Vocal Reconstruction
Abstract
Ying Shangnengs theory of using characters to form tones is based on the characteristics of Chinese phonology and reconstructs
the relationship between characters and tones and aesthetic paradigms in vocal art. Chinese is based on monosyllabic units, with four tone values (yin ping, yang ping, shang sheng, and qu sheng) forming natural melodic lines. The three-dimensional combination of initial consonants,
vowels, and tones creates a unique sound system, which provides the genetic code for musical expression. It also advocates leading the tone
with the character and establishing a dialectical unity system of the tone: establishing the starting point of the tone with the initial consonant,
extending the resonance space with the initial vowel, and completing the musical phrase with the final rhyme. By using techniques such as
spraying, bouncing, spitting, and biting, the pronunciation is ensured to be clear and the voice flow naturally. The initial consonant w of the
character wei carries the sound with qi, and the final vowel ei resonates with the nasal cavity, accurately capturing the sound and achieving the organic integration of language meaning and musical expression. In the scientific reconstruction of vocal music, he established the
Three Rhythms collaborative mechanism, integrating the phonetic rhythm (tone), breath rhythm (breathing), and musical rhythm (rhythm)
system. By using tone and pitch symbols to indicate pitch direction and using the inverse cutting method to decompose complex character
sounds (such as xiang being replaced by x-iang), Western vocal techniques are deeply integrated with Chinese phonological rules. This
theory breaks through the traditional oral transmission mode, inheriting the aesthetic tradition of following characters and singing styles,
and promoting the modernization transformation of Chinese vocal music through a scientific training system, building an artistic bridge between national and global characteristics.
the relationship between characters and tones and aesthetic paradigms in vocal art. Chinese is based on monosyllabic units, with four tone values (yin ping, yang ping, shang sheng, and qu sheng) forming natural melodic lines. The three-dimensional combination of initial consonants,
vowels, and tones creates a unique sound system, which provides the genetic code for musical expression. It also advocates leading the tone
with the character and establishing a dialectical unity system of the tone: establishing the starting point of the tone with the initial consonant,
extending the resonance space with the initial vowel, and completing the musical phrase with the final rhyme. By using techniques such as
spraying, bouncing, spitting, and biting, the pronunciation is ensured to be clear and the voice flow naturally. The initial consonant w of the
character wei carries the sound with qi, and the final vowel ei resonates with the nasal cavity, accurately capturing the sound and achieving the organic integration of language meaning and musical expression. In the scientific reconstruction of vocal music, he established the
Three Rhythms collaborative mechanism, integrating the phonetic rhythm (tone), breath rhythm (breathing), and musical rhythm (rhythm)
system. By using tone and pitch symbols to indicate pitch direction and using the inverse cutting method to decompose complex character
sounds (such as xiang being replaced by x-iang), Western vocal techniques are deeply integrated with Chinese phonological rules. This
theory breaks through the traditional oral transmission mode, inheriting the aesthetic tradition of following characters and singing styles,
and promoting the modernization transformation of Chinese vocal music through a scientific training system, building an artistic bridge between national and global characteristics.
Keywords
Ying Shangneng; Using a written style; Phonological characteristics; The character leads the tone
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PDFReferences
[1] Ying Shangneng Using the word line accent [M] Beijing: People's Music Publishing House, 1981
[2] Yang Dianjie Promote the singing of Chinese songs with "Zi Xing qiang" - Record the "Feng Baohong Vocal Lecture on" Zi Xing qiang
"[J] Singing Art, 2016 (05): 57-61
[3] Mara Fei Audi Caruso's vocal method [M] Translated by Lang Yuxiu, Beijing: People's Music Publishing House, 2000:79
[4] Ying Shangneng Using the word line accent [M] Beijing: People's Music Publishing House, 1981:9
DOI: http://dx.doi.org/10.70711/rcha.v3i1.6550
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