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1、 探讨声乐练习的几点技巧 一、正确看待声音在音乐中的重要地位 The important position, a correct view of a sound in music音乐是声音的艺术也是听觉的艺术，它没有看得见的形象，也不是用文字和概念来表达的，它只用声音来表达，可是声音也像文字、概念和可见的形象一样，能够表达得清楚易懂。既然音乐是声音的艺术，那么每一个教师首先应当关心的是声音的训练，他的最重要的任务也在于此。但有些教师总是把注意力放在狭义的技术、华丽的快速上，而把最重要的声音训练挤掉了，或者把它放在次要的地位上。 Music is the art of sound and sen
2、se of hearing art, it has no visible image, not with words and concepts to express, it just sounds to express, but the voice is like the text, and the concept of the visible image, to express clearly to understand. Since music is the art of sound, then every teacher should first concern is the voice
3、 of the training, his most important task in the. But some teachers always focus on the narrow technical, gorgeous fast, while the voice training out the most important, or put it in a subordinate position.一些教师对于如何感受声音和在钢琴上表达声音这一问题有着不正确的看法：对声音不够重视。他们对于钢琴http:/ http:/ http:/ http:/ 上特别丰富多彩的力度变化和声音变化不
4、加思考和钻研，一味地追求前面讲过的狭义的“技术”，这样导致孩子们的听觉缺乏训练，想象力也不够，更不善于倾听自己的声音。然而声音是学琴之人应当掌握的全部手段中最重要的一个。我经常听到一些钢琴老师谈论并且自己也感受到，教会学生弹好听的声音比什么都难，因为几乎一切都靠学生本人。这里指出的并不是这项工作的困难程度，而是它的重要性和尽可能完善地解决这问题的必要性。当然，训练声音是一件最困难的工作，它和学生的听觉禀赋以及精神品质有着密切的关系，听觉越是迟钝，声音也就越是呆板，因此声音听觉成了一个必不可少的训练课题。 Some teachers have not correct views on how t
5、o feel the sound and voice this problem on the piano: do not pay enough attention to the voice of. Dynamics changes and voice changes them for Piano especially rich and colorful without thinking and studying, the pursuit of the narrow sense of “ technology “, which leads to the lack of training chil
6、drens hearing, imagination is not enough, but not good at listening to your own voice. However, the sound is at should be one of the most important means to master all of. I often hear some piano teacher talk and also feel, teach students to play the sounds are harder than anything, because almost h
7、ttp:/ http:/ http:/ http:/ everything on the student. The degree of difficulty here that is not of this work, but its importance and necessity as perfect as possible to solve the problem. Of course, the training of sound is one of the most difficult work, and students hearing endowment and spiritual
8、 qualities are closely related, the more sensitive hearing, sound is more rigid, so the sound became an indispensable topic training.二、怎样教学生从“听好”到“好听” Two, how to teach the students from the “ listen “ to “ “声音听觉是什么呢？它是一个复杂的概念，它本身包括许多组成因素，其中最重要的有音高听觉、调式听觉、色彩力度变化听觉与内在听觉，这四种听觉中每一种对学习钢琴都有重大意义。 What is
9、the sound? It is a complex concept, it includes many factors, of which the most important are the pitch of hearing, auditory, adjustable color dynamics of hearing and inner sense of hearing, four hearing each kind of learning the piano has a great significance.分析了什么是声音听觉，那我们又应该怎样培养学生的听觉呢？我认为听觉和其他能力一
10、样是在要求它参与活动的过程中培养起来的，必须首先做到整个钢琴弹奏都是在不断的听觉控制的条件下进行的。有时我询问一http:/ http:/ http:/ http:/ 些学生，应不应该在弹奏时一直倾听自己的演奏，他们的回答都是肯定的，可惜的是实际情况完全不同。他们在弹奏上最普遍的一个缺点恰巧是很少用听觉参加弹奏，在学习作品的最初阶段，总是不注意听声音，把自己的注意力完全花在视谱、节奏和“手指”上，而在学习作品的中期阶段，学生又特别热衷于技术锻炼，拼命“死抠”一些难弹的地方。长时间的这样练习，最后就导致了用粗糙而过急的触键“硬挤出”每一个音，声音平淡而无表情，更可怕的是学生自己并没有意识到这是在
11、残害自己的听觉。 Analysis of what is sound, then we should be how to cultivate students hearing? I think the auditory and other abilities are cultivated in the process requires it to participate in the activities of, must first do the piano is in continuous auditory control conditions. Sometimes I ask some
12、students, should be in the play has been listening to their music, their answer is in the affirmative, but the actual situation is entirely different. They are a disadvantage is most common in play on was rarely used auditory to play, in the initial stage of learning works, dont always listen to sou
13、nd, put your attention completely flowers in the spectrum, the rhythm and the “ fingers “, and in the middle stage of learning works, the students also particularly keen on http:/ http:/ http:/ http:/ technical exercises, some difficult playing place desperately “ to pull the dead “. Long time of su
14、ch practice, finally led to the rough and touching “ too hard extrusion “ every sound, voice was flat and expressionless, more terrible is the students themselves are not aware of this is to harm his hearing.我们可以回忆一下，在上个世纪 R.H.伊古姆诺夫的钢琴演奏原则和教学原则中提到：“在弹钢琴技术练习时，哪怕是最简单的练习，康士坦丁尼古拉耶维奇没有一刻不考虑到声音的处理是否合适，他所弹
15、奏的一切无论如何都是极具音响色彩性的，他曾那么坦诚地承认：对我来说，除了具体真实的声音就没有音乐。 ” We can recall, in the last century R.H. Iraq Gu M Andrianofs “ Piano principles and teaching principle “ mentioned: “ in practising the piano technique, even the most simple exercises, Constantin Nikolayevich never for a moment without considering the processing of sound is not appropriate, everything he played in any case are very sound the color, he had been so frankly admitted: for me, in addition to the true sound comes without music. “我们还可以看看着名钢琴教育家 T.T.涅高兹对待钢琴音响的观点。他说：“音应该存在
