The Rationality Of Type Lyric Soprano Aria Choose

In the history of Europe vocal music, Bel canto accompanies opera in the developing process, as it is the carrier of western operatic performance. The development of western opera promotes the theoretical research of Bel canto and defines the voice part of soprano more scientifically. Tone quality, tone color, tone range and physical features determine voice pattern, and according to this, soprano can be divided into lyric soprano, dramatic soprano, and coloratura. Every one can be further divided. For instance, lyric soprano includes lyric light soprano; lyric soprano; lyric spinto soprano and lyric coloratura. Learning the classification, singer could see through to the type of his voice, in order to select suitable aria works. Owing to the understanding limitation in distinguishing different voices, vocal music learners and singers is blind, random and pointless, which have a negative influence on the singers, namely lead to sound track injury, even to sing no longer. Through the research on different lyric soprano voice, this thesis introduces vocal features and representative roles of every voice type and discusses the theoretical foundation by some aria examples. The author, who herself is lyric soprano, is aware that to choose the aria which fit one's voice is very important in voice training. This thesis hopes to shed light on vocal music teaching and learning.Chapter one is the introduction in which the significance of the thesis is explored. It introduces the literature review and confines the research methodology. Chapter two briefly introduces the division of soprano and its foundation. Chapter three is the key part of the thesis. It includes four sub-parts, forming the sequence of the lyric light soprano; lyric soprano; lyric spinto soprano; lyric coloratura. Every section analyzes its typical roles and representative aria works, meanwhile researches into the reasons of the harmony between voice and the aria and discusses its relative theories. Chapter four analyzes the transformation of different voice parts of soprano and its reasonable choice of aria in the process. The conclusion focuses on the consequential method of scientific and regular voice training. The most significant way is to choose an aria that fits the singer's voice.