On The Research Of The Theory And Practice Of "Singing On The Breath"

"Singing on the breath" is a highly standard singing skill of traditional Italian bel canto, which was brought out as early as the 17^th and the 18^th century during "the Golden Age of Singing" by Caccini, Mancini and Tosi. However, due to the underdevelopment of science at the moment, people knew little about anatomy, physics and the physiological system of articulation and respiration. Thus, instead of representing from the aspect of scientific theory, the teaching of vocal music was restricted to the summary of experience, far away from a set of complete system of scientific theory. As time went on, people gradually had a deviation on the understanding of "Singing on the breath". All of these contributed to the complicated situation of a variety of sayings and ambiguous definitions in the teaching of vocal music, which had a great effect on the progress and the rate of success of the teaching of vocal music in our country.Based on this condition, this article, beginning with the historical fact, first gives a brief elaboration on the historical background and origin of "Singing on the breath". Besides, by using the related knowledge of physiology, anatomy and air dynamics, it deeply analyses the theoretic truth of "Singing on the breath" of the 17^th and the 18^th century traditional Italian bel canto. This is also the essence of "the Principle of High Efficiency and Low Consumption" in bel canto. The core of the skill of "Singing on the breath" is that the pounding strength of breath accurately cooperates with the enclosed situation of the sound cord. In this way "Bernoulli Effect" is produced to lessen the pressure of producing sound on the sound cord, and to make the potential of the sound cord fully work. But from the aspect of air dynamics, there is some reason under the production of "Bernoulli Effect". So, in order to be more accurate in "Singing on the breath", this article also focuses on the concrete condition of "Bernoulli Effect" in singing. Trough the rational analysis of the skill of "Singing on the breath", the author proposes some feasible practicing methods at the end of the essay, including the silent practice, the practice in which the enclosure of glottis cooperates with the outing of breath, and so on, in the hope to help the learners master this highly standard singing skill more quickly and better.The most distinctive features of this article are its being historical and scientific. By using the related scientific knowledge of singing, it deeply analyses the theoretic truth of "Singing on the breath", and sets forth some feasible practicing methods. I sincerely hope that my effort may be of some help and inspiration on the present research of the theory of vocal music, and provide theoretical reference for improving the present teaching of vocal music.