The Music Join Forces, New Rhyme Sound

Wang Jianzhong is a role model in the music circle of China. His works have a distinct Chinese style and display a higher professional and artistic value. However, as far as those documents at home and abroad are concerned, it seems that they mainly focus on the study of Wang's piano works, yet never concern the study of his vocal works. This paper chooses Mr. Wang's vocal works created in the 1980s—a divertimento of Li Qingzhao's five poems as the target of study, and carries out further analysis and research from the aspects of artistic features and singing requirements of the divertimento.This article includes three parts: introduction, body and conclusion. The introduction mainly introduces Mr. Wang's creative life with an overview of his works. The body is divided into four parts. The first part is an overview of China's art songs and a brief introduction to Mr. Wang's creation of the divertimento. The second part provides an overview of the divertimento word author—the famous Song Dynasty poet Li Qingzhao and analyzes the selected Li Qingzhao's five poems created in different periods of her life. The third part focuses on the analysis of techniques of artistic expression applied to Li Qingzhao's poems, including the extraction of the folk music materials, melody, rhythm and harmony mode.The fourth part makes a detailed analysis and study of the overall singing processing, singing procedure of the divertimento in addition to image characterization and the pre-condition of singing. The conclusion summarizes the national style and features of Mr.Wang's divertimento; its uniqueness and its great impact on contemporary vocal music creation, performance and instruction.This article mainly through practice and literature research method, in addition to a visit to the composer himself, with multi-angle and multi-level analysis attempts to truthfully, objectively and accurately grasp the style and the singing essentials of the divertimento.In this paper, the research is intended to help singers as a whole to grasp the style and features of the divertimento. Meanwhile, to provide some personal views for reference from the aspects of creative thinking of vocal divertimento of ancient chinese poetry and singing experience. Furthermore, it is a study of great significance because through exploring ancient Chinese poetry art songs, especially the songs which appeared after the second half of the 20th century, a profound study of the style and features of those songs will benefit both our stage singing and vocal teaching research.