A Comparative Study Of The Vocal Skills And Singing Aesthetics Of Castrati And Tenor Singer

The concept of the countertenor has been poorly conceptualized and imprecise in scholarly studies,so it is necessary to redefine the historical concept of the contemporary tenor.In a series of extensively annotated case studies,this paper reexamines the theoretical foundations of Western writings and introduces new information,mainly from the 15 th and 16 th centuries,on the countertenor.The main focus is on the vocal training and vocal aesthetics of diva singers and high tenors,comparing the similarities and differences between the two,exploring the nature of their singing with a new perspective,and exploring the scientific approach to singing from the historical lineage of Western vocal development to draw on for the teaching and development of modern vocal music.In the post-modern period,the refinement of scientific vocal training and the change in the aesthetic diversity of the voice have opened up a new aesthetic boom in the field of singing.The integration of basic theoretical knowledge of physiology,psychology,acoustics,and physics has enabled singers to achieve a more refined and precise expression of their songs,which undoubtedly breaks the conventional concept of singular singing and demonstrates that singing requires not only rigorous training,but also knowledge of a wider range of disciplines and continuous study in order to present a more masterful vocal performance.The rich experience accumulated by the castrati and high tenors provides a historical reference and technical support for today’s singing teaching,and is a strong impetus to the development of modern vocal music.The diversity of singing aesthetics also demonstrates the progress and development of the times,and is a manifestation of the spiritual civilization of society.This will help us to build a diverse singing art scene.