| According to the traditional Chinese opera jargon, singing is also called the art of singing, which is one of the four operatic arts in traditional Chinese opera. It is among the most important characteristics of operatic art and the basic requirement for an opera performer to be at the stage. It is crucial in the operatic performance. As an important local opera, Yu opera is famous for its emphasis on singing, which has been the striking feature of stage art of Yu opera. For hundreds of years, the performers of Yu opera have paid much attention on the improving, studying and training of singing art and formed a singing concept that is imbued with peculiar operatic feature. Since 1920s, as the practice of singing art gradually deepened and the singing teaching and research developed, there appeared a new tendency among professional performers to apply tunes like big original tune, second original tune, and clip original pronunciation etc. comprehensively in singing, that is, the mixed vocal singing art in the teaching of vocal music. And the great emerging of the female type character especially the internal eight characters of Dan(female character) also contributed greatly to the skills of breathing, phonation, resonance, articulation, enunciation and so on. This kind of mixed sound (which is called Wan Ying tune by Chang Xiangyu) can unify the high, middle, and low pitch part perfectly and form a resounding, mellow and exquisite mixing sound, which is natural and touching in articulation, various in performance and lasting in singing. This kind of proficient voice is the very pursuit of our national vocal singing art. Because the author lives in the hometown of Yu opera, Luoyang, Henan Province, exposed to the essence of Yu opera and has made efforts if the study and research of national vocal art for many years, there occurs the thought to combine the singing art of Dan in Yu opera and the female folk singing, to identify the university and individuality of the two in breath, resonance, articulation and enunciation, so as to make a primary comparison, summary and conclusion in the vocal rules of the national vocal music and the Yu opera.This paper has four chapters besides the introduction and conclusion part. The first chapter starts with the formation of Yu opera, using, the society, humanity, the change of background and location etc. as the reference to describe the evolution and change of the singing art of Yu opera, dividing the history of Yu singing art into three periods, generally sorting the development history and background of Yu opera and the development and integration of the four schools of Yu opera. The second chapter gives a detailed review and summary of the singing styles and skills of the five Dan in Yu opera based on the research done by processors and this chapter provides grounds of argument for the following discussion. The third chapter is the noumenal study of the singing skills of the Dan character in Yu opera. By borrowing the phonation concept of modern science, the ways of using throat in singing, such like big original tune, second original tune and wangying tune in Yu opera are analyzed and the ways of how Dan character using acoustic, breathing, articulating, and singing tones are inducted and sorted. The practical cases of arias and songs in the fourth chapter confirm the fusion and reference done by the author in the study of language, breathing, articulation and spoken parts of Dan in Yu opera and national singing art. It makes a contrastive analysis of the commonness and difference of the two in articulation, enunciation, breath, resonance etc. and summarizes the author's own experience in learning national vocal music and the Dan character singing art in the past few years. In this chapter, the significance of Dan singing art of Yu opera in pushing forward the national vocal music is positively acknowledged. I hope that this can provide basis and support for the national vocal music to integrate and absorb the essence of local opera. |
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