共查询到19条相似文献，搜索用时 265 毫秒
1.
声乐表演是歌唱者表达内心视野的一种艺术形式。它集合神情姿态、形体表演和情感表现于一体,充分体现歌唱者对艺术的深情感悟。歌唱仅是通过对歌曲作品的概要理解,真正的艺术表演则是将作品拟人化,展现一种活灵活现的艺术文化。精湛的歌唱技巧仅是声乐表演的手段．只有当技巧与相应的神态、形体、情感完美统一时,才能真正地实现声乐表演自身的价值。在声乐艺术中,表演技巧的娴熟运用是一名优秀歌唱者必须具备的素质。 相似文献
2.
祝卫红 《浙江传媒学院学报》2003,10(2):46-47
在声乐教学中,教与学之间充满了心理活动的特征。在歌唱时,只有集中注意,才能保证歌者感受歌曲形象,才能深刻的 表达歌曲的思想情感。心理学在声乐教学中起着举足轻重的作用,他与声乐演唱技巧的训练同等重要,二者缺一不可。 相似文献
3.
声乐是语言和旋律结合的艺术,正确的咬字、吐字是歌唱技巧中的重要基本功,是准确表达作品思想内容的载体。在学习声乐过程中．不仅仅要掌握规范、科学的发音技巧,还要加强正确的咬字和吐字的技巧： 相似文献
4.
情感对歌唱技巧和艺术美感的创造起着积极的推动作用。情感因素是声乐教学的动力,调控好教学中的情感状态,对提高教学效率有十分重要的现实意义。 相似文献
5.
声乐是从一个较高的审美角度通过声音来表现情感的一种音乐艺术形式,也是用艺术表达情感的最高形式,从古到今它都在人类生活和高于生活的艺术表现形式中存在着。它不是简单机械的发声过程,而是用声音来表达情感并加以美的艺术化,所以大家听到众多的古今中外的声乐作品,感觉是美不胜收,令人难忘。 相似文献
6.
声乐艺术用人声来表达情感,情感蕴藏在声乐之中,声音—作品—情感,在声音和情感之间,作品是一座艺术的桥梁。对作品内涵的深刻理解和准确把握,是一种音乐审美的体现,更是一种综合文化素质的反映。文化是人类精神活动的创造物,它包括哲学、艺术、文学、历史、宗教、经济等方面的内容。 相似文献
7.
声乐是音乐艺术的一种重要形式。它以歌声为主要手段，表达人的内心世界和情感世界。声乐艺术的特点在于通过美好的声音、清晰的语言表达真实的情感，扣动听众的心弦，引起其情感的共鸣。 相似文献
8.
本文首先对创作版画的情感以及技巧进行了简单的介绍,然后对版画技法与情感表达的关系进行了分析认为版画技法是画家情感表达的前提和基础,情感的表达是版画作品的灵魂所在,并对这种背景下如何结合版画技法与情感提出了自己建议．具有一定的借鉴意义。 相似文献
9.
声乐教学过程中最重要的环节莫过于对情感体验的培养,培养学生优良的情感体验也是学习声乐技能强大的推动力,使声乐教学达到声情并茂的最高艺术境界。所以在声乐教学中,培养学生情感是每位声乐教师应该重视的问题,只有达到了声与情的结合才能使作品的内涵完整的体现出来。本文主要探析了在声乐教学中情感的培养。 相似文献
10.
声乐技巧学习是声乐教学领域中一个重要的内容。从存在于技巧学习中若干认识上的误区进行学理性的分析和探讨,排除本能发声意识对歌唱技术的影响,建立正确的歌唱概念,才能进一步提高声乐演唱技巧。 相似文献
11.
《Journal of Radio & Audio Media》2013,20(1):18-32
The author examines radio programs produced by women in the U.S. that feature music by women. Women's music programming offers a variety of music genres and presentation styles. Criteria of music selection also vary, with some programs concentrating solely on women's contributions and musical works, and others that play music by mixed-sex groups and even featuring a male vocal. However, the commonality of all these programs lies in their dedication to highlighting women artists and giving voice to those who would otherwise not be heard. As media artifacts, women's music radio programs offer multiple layers of feminist inquiry. 相似文献
12.
Scott Haden Church 《Critical Studies in Media Communication》2017,34(4):315-328
This essay provides a model of how to critically read non-representational sound by attending carefully to its material elements. It presents a novel conceptualization of glitch music, an experimental medium of digital art comprised of the unpleasant sounds of technology malfunctioning. The analysis examines the representative songs of glitch artists Oval and their sonic articulation of the regenerative possibilities of failure. Although Oval largely considers conventional musical form to be tyrannical, its sound art simulates traditional musical elements such as rhythm, phrasing, and instrumentation, and transforms them into their respective glitch equivalents of metrical dissonance, repeated sound textures, and timbral experimentation, thereby altering digital malfunctions of sound into a sensual affective experience. Although music is theorized elsewhere to be persuasive because of its mobilization of emotions within the listener, the glitch art of Oval is suasory because it generates affective intensities that operate at an intercorporeal level of matter-energy. The songs of Oval update the modern directive of the Futurist sound movement to train the listener to accept a life surrounded by the sound of digital technology. 相似文献
13.
《Cataloging & classification quarterly》2013,51(3):15-55
Three methods of access to musical works on sound recordings are: name-title added entries; title added entries; and contents notes, which may allow access to works through keyword indexes. The purpose of this research was to learn about the comparative effectiveness of standard OPAC retrieval techniques utilized to retrieve sound recordings of musical works. A sample of recorded musical works was searched in CLIO (Columbia Libraries Information Online). The number of musical works per sound recording, and the work's type of title were tested as influencing factors in the success of various retrieval techniques. Retrieval-set sizes, and the number of steps required to locate a target record were also measured for each of the retrieval techniques. Keyword retrieval is shown to be effective. The comparable effectiveness of keyword searching with conventional title searching appears to be dependent on the number of works contained on the recording. Keyword retrieval is not as successful as title searching when title entries are provided. 相似文献
14.
《媒体管理杂志》2013,15(4):182-192
Music majors, who have been suffering from dwindling revenues in their core business, are placing extraordinary hopes on the new market of over-the-air (OTA) downloads. However, until now there has been no broad academic discussion about this market. In particular, two central questions have not yet been addressed: (a) Which factors influence the success of music majors in the OTA-download market?, and (b) How can music majors increase their success in this market? To answer these questions, this study used a holistic research approach, which combines an economical and a sociological perspective. This study first identified the drivers for the success in the OTA-download market and analyzed these factors in 1 large-scale survey (n = 1,780) in Germany and a series of expert interviews. Subsequently, a mathematical Excel-based tool was constructed and data optimization techniques from operations research were applied to derive the optimal mix of strategic measures that maximizes the success of music majors in the German OTA-download market. Finally, recommendations for implementing these strategic measures are presented. This explorative study provides a systematic understanding of the general factors driving success in any OTA-download market. Therefore, there is hope that it will be relevant for both German and international scholars and managers. 相似文献
15.
James Soe Nyun Karen A. Peters Anna DeVore 《Cataloging & classification quarterly》2013,51(1-3):82-101
A collaborative cataloging project for music sound recordings between two University of California campuses matches available staffing at UC San Diego with the need for better access to a high-priority collection of audio CDs at UC Santa Barbara, with promising results. This article discusses the decision to collaborate, the project planning process, cataloging standards and workflow issues, network level cataloging within an international database (OCLC), communication between personnel on the two campuses, managing cataloging review, an assessment of the project's achievements to date, and implications and future directions for similar cooperative projects. 相似文献
16.
在音乐网络这个领域内,一个合格的、跟上新时期步伐的音乐工作者应该清楚地认识到,提高音乐素养是时代的要求,也是工作的客观需要。重视音乐素养的学习和提高,加深对音乐的理解,提高音乐综合能力,是关系到网站在未来是否适应新时期高校教育需要的大问题,也是网站在未来的竞争中生存与发展、牢固占领文化领域的重要因素。 相似文献
17.
《Journal of Radio & Audio Media》2013,20(1):32-40
After providing glimpses of the external competition problems besetting the Top 40 radio format and later clones, the author focuses on hit music radio's internal problems. They include narrow formatting and audience fragmentation, the continuing inordinate influence of teens on pop music, the self‐referential nature of the symbiosis between record companies and radio music programmers, music testing results that are used to produce a “least objectionable playlist,” and flaws in the original theories underpinning the Top 40 format. An in‐depth reanalysis of the genesis of the limited playlist concept then follows. A song's reliability in producing a desired pleasurable reaction in the listener (because of factors intrinsic to the music) is advanced as a useful factor in choosing music for radio airplay. 相似文献
18.
电视专题片中的音乐与音响 总被引：1，自引：0，他引：1
程晋 《浙江传媒学院学报》2003,10(2):30-32
电视专题片在当今电视节目中占有很大的比重,本文试图围绕电视专题片中的声音(主要是音乐音响)功能以及声画结 合的规律进行多层次的探讨。 相似文献
19.
Daniel Makagon 《传播与批判/文化研究》2013,10(3):223-239
This is an ethnographic study of youths who put elaborate sound systems in their automobiles. I argue that participants in loud car stereo culture share an aesthetic agency, using sound and mobility to construct environments (discussed in this article as mobile heterotopias) that challenge the spatial and temporal constraints of daily life. Their actions and stories speak to, and exist within, broader contemporary debates in the United States about music and noise in public places. Moreover, their sonic booms confront and undermine official attempts to regulate contemporary life and to sanitize public spaces. 相似文献