100 Vocal Music Questions and Answers cover

100 Vocal Music Questions and Answers

Rating 3.4
Word count
68K words
Chapters
113
ISBN
9787552312287

Tags

Summary

This is an accessible book on vocal theory. In a clear and systematic question-and-answer format, it addresses ninety-nine questions that singers commonly encounter and want answered when learning vocal music. For every reader eager to study singing and to make their voice more beautiful, it offers useful guidance. The Q&A style is friendly and natural, easy to learn from and easy to understand. First published by Shanghai Literature and Art Publishing House in 1986, this edition keeps the Q&A format while updating and refining it in light of new trends in modern vocal development, so as to serve voice enthusiasts better.

Editor's review

Vocal Music Q&A: 100 Examples is a highly practical guide for beginners and for those advancing their vocal studies. Drawing on years of teaching experience, Mr. Fa Enxun systematically maps the confusions learners most often meet on the vocal path and presents them in Q&A form, making complex vocal theory clear and easy to grasp. Unlike hefty theoretical treatises, this book's Q&A structure is sharply targeted, like an experienced mentor answering your questions one on one. Its content ranges from basic techniques—breathing, phonation, resonance, articulation and diction—to comprehensive skills such as song interpretation, stage performance, and even psychological adjustment, forming a complete knowledge loop. For beginners, it helps establish correct, scientific vocal concepts and avoid common pitfalls; for singers with some foundation, the advanced material on timbre shaping and artistic expression is equally illuminating. The book's clear organization, plain language, and concrete examples—turning abstract 'feelings' into operable, understandable 'methods'—are its greatest value. Although published relatively early, the core principles of vocal training are enduring, and the book's insights remain timely; it is a reference worth keeping close at hand and revisiting often.

Who it's for

A good fit for

  • Beginners in vocal art who want to build scientific, systematic concepts of voice production.
  • Singers with some performing experience who have hit technical bottlenecks and want to find the root of the problem and break through.
  • Primary and secondary school music teachers and choir directors who need practical teaching references.
  • Vocal enthusiasts who want to understand singing principles more deeply and improve their musical appreciation.

Not a good fit for

  • Academic researchers seeking the latest, most cutting-edge vocal research trends and experimental data.
  • Pure song collectors hoping for large numbers of specific scores or accompaniment recordings.

Reading tips

  1. Read in order: first consolidate the foundational chapters on breathing and phonation, then move on to applied sections such as song interpretation.
  2. As you read, compare the book's questions with your own practice and try to 'match yourself to the right entry'—this is where it is most targeted.
  3. For key technical points such as 'opening the throat' and 'breath support,' read repeatedly and combine with slow, focused practice to absorb them.

About the publisher

Shanghai Music Publishing House China · Founded in 1956

Shanghai Music Publishing House focuses on music and dance books and textbooks, with a brand identity built around piano literature and music classics. Its catalogue of about 592 titles includes categories such as film and television and theory. Representative works include the Norton series on music history by period—Twentieth-Century Music, Romantic Music, Classical Music and Baroque Music—as well as Feinberg on the Art of Piano Playing, A History of European Music and Beethoven's Symphonies: An Artistic Vision. Its contributors include authors and scholars such as Philip Downs, Leon Plantinga, Robert Morgan and Richard Hoppin, along with translators and scholars Liu Danni, Chen Hongduo, Gan Fangmeng and Liang Qing. The press emphasizes translations of Western music scholarship while also supporting Chinese-language writing on music history and theory, giving its list a core strength in period histories, style histories and performance art; public information on other areas is limited.

Contents

  1. 版权信息
  2. 第一章 声乐基础知识
  3. 1.学习歌唱应注意哪些方面
  4. 2.学习歌唱应具备哪些条件
  5. 3.歌唱依靠哪些发声器官
  6. 4.歌唱发声中有哪些共鸣腔
  7. 5.歌唱的发声有哪些要求
  8. 6.怎样识别声部
  9. 7.怎样划分声区
  10. 8.音量的强弱与音调的高低是由什么决定的
  11. 9.怎样保护好声带
  12. 10.初学歌唱在姿势上应注意哪些方面
  13. 11.学歌唱为什么一开始就要有声乐的整体观念
  14. 12.为什么说学习歌唱要“自然”
  15. 13.声乐训练主要有哪些途径
  16. 第二章 发声基本原理
  17. 14.什么叫气势的内在感觉
  18. 15.什么叫呼吸支点
  19. 16.为什么歌唱学习前必须大致了解自己的声带
  20. 17.怎样体会气息控制的三种感觉
  21. 18.怎样控制歌唱的气息
  22. 19.自然声区发声时气息的控制有什么特点和规律
  23. 20.头声区发声时气息的控制有什么特点和规律
  24. 21.胸声区发声时气息的控制有什么特点和规律
  25. 22.怎样理解各声部的气息控制特点
  26. 23.歌声的形成过程是怎样的
  27. 24.什么是共鸣?产生共鸣的条件是什么
  28. 25.共鸣有什么作用
  29. 26.共鸣是怎样分类的
  30. 27.什么叫气息性共鸣
  31. 28.什么叫无气息的共鸣
  32. 29.什么叫回流性共鸣
  33. 30.如何理解共鸣“贯通”的意义
  34. 第三章 声部发声规律
  35. 31.女高音的发声有何规律
  36. 32.戏剧女高音、花腔女高音、抒情女高音三者在风格特点上有何区别
  37. 33.女中音的发声有何规律
  38. 34.女低音的发声有何规律
  39. 35.男高音的发声有何规律
  40. 36.戏剧男高音和抒情男高音在风格特点上有何区别
  41. 37.男中音的发声有何规律
  42. 38.男低音的发声有何规律
  43. 第四章 歌唱发声体验
  44. 39.怎样控制喉头的“相对稳定”
  45. 40.怎样控制发声的“力点”
  46. 41.怎样控制声音的高低
  47. 42.怎样控制发声的音色
  48. 43.怎样控制音响的浓度
  49. 44.怎样控制声音的传送能力
  50. 45.怎样控制头腔共鸣
  51. 46.怎样避免声音后倒
  52. 47.怎样控制鼻腔共鸣
  53. 48.怎样避免鼻音现象
  54. 49.怎样控制口腔共鸣
  55. 50.怎样避免声音包在嘴里的现象
  56. 51.怎样控制喉腔共鸣
  57. 52.怎样避免喉音现象
  58. 53.怎样控制胸腔共鸣
  59. 54.怎样避免空声现象
  60. 55.怎样控制歌声的立体效果
  61. 56.怎样运用共鸣的偏重效果来增强发声的立体感
  62. 57.如何理解自然声区发声的重要性
  63. 58.怎样进行自然声区的发声练习
  64. 59.胸声区的控制有何特点
  65. 60.怎样进行胸声区的发声练习
  66. 61.怎样进行“发声的关闭”
  67. 62.头声区的动作控制有何特点
  68. 63.怎样进行头声区的发声练习
  69. 第五章 音韵规范与吐字咬字
  70. 64.怎样增强声母发声的控制能力
  71. 65.怎样运用声母发声来体会各发声部位
  72. 66.如何理解韵母发声的意义
  73. 67.怎样控制韵母发声
  74. 68.如何保证歌唱咬字的音乐美感
  75. 69.如何处理歌唱的咬字
  76. 第六章 演唱技巧运用
  77. 70.如何理解技巧发声的作用
  78. 71.怎样正确运用技巧性的发声
  79. 72.怎样运用声音起首的发声技巧
  80. 73.怎样运用音色变化的发声技巧
  81. 74.怎样运用高音轻声的发声技巧
  82. 75.怎样运用重音的发声技巧
  83. 76.怎样运用假声的发声技巧
  84. 77.怎样运用颤音的发声技巧
  85. 78.怎样运用跳音的发声技巧
  86. 79.怎样运用滑音的发声技巧
  87. 第七章 歌曲艺术处理
  88. 80.如何正确理解歌唱表演是歌曲创作的继续
  89. 81.怎样进行歌曲表现的艺术处理
  90. 82.如何修正声音的形象
  91. 83.怎样捕捉歌唱的形象
  92. 84.如何在演唱中把握自身的情感
  93. 85.怎样才能表现歌曲的内在情感
  94. 86.怎样控制嗓音与感情的关系
  95. 87.怎样选取歌曲意境中的“自我”立足点
  96. 88.如何演绎经典歌曲《三套车》
  97. 第八章 常见错误纠正
  98. 89.怎样纠正气息僵化的现象
  99. 90.怎样纠正落调的现象
  100. 91.怎样纠正冒调的现象
  101. 92.怎样纠正羊声的现象
  102. 93.怎样纠正共鸣单调的现象
  103. 94.怎样纠正共鸣位置不统一的现象
  104. 95.怎样纠正声音后倒的现象
  105. 96.怎样纠正鼻音过重的现象
  106. 97.怎样纠正颤声的现象
  107. 98.怎样纠正出现喉音的现象
  108. 99.怎样纠正发声无基础共鸣的现象
  109. 100.怎样纠正声音空洞的现象
  110. 101.怎样纠正咬字不清的现象
  111. 102.怎样纠正字音不正的现象
  112. 附录:歌唱基本练习曲(选编)
  113. 跋

FAQ

Is this book suitable for complete beginners to self-study?
This book is an excellent self-study aid. It clearly points out the right path and common mistakes, greatly reducing the chance of detours in self-study. But vocal learning emphasizes 'auditory feedback' and 'muscular coordination,' so if possible, combining it with guidance from a professional teacher and using recording devices for self-monitoring will produce better results.
Are the theories and methods in the book outdated?
The core principles of vocal training (such as breath support and resonance adjustment) are quite stable. What this book sets out are precisely these time-tested basic principles and solutions to common problems; its core value has not become outdated. Readers may, of course, integrate contemporary, more diverse musical styles and teaching ideas for a fuller understanding.
What makes this book distinctive compared with the author's other works or similar books?
Its greatest feature is the 'hundred Q&A examples' format, which strikes directly at learning pain points, is highly practical, and is easy to consult. It is not as comprehensive as a systematic textbook, but more like a 'collection of solutions to vocal problems,' with very strong targeting and answer-seeking qualities, making it easy for readers to quickly find the questions they care about.

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About the author

法恩训 Author

Fa Enxun is an author about whom little public information is available; details such as nationality, dates of birth and death, and educational background have not been clearly recorded. According to the library's holdings, he is known to readers through only one work, One Hundred Questions and Answers on Vocal Music. The book is organized in a question-and-answer format and addresses common issues in vocal study and singing practice, making it a reference work for beginners and for vocal training. The phrase "one hundred cases" in the title suggests that the book focuses on answering specific questions one by one rather than offering a systematic theoretical treatment, a format that allows readers to consult it as needed and to check their practice against it. The book is classified under film and television, indicating that its content may relate to singing training or vocal use in screen performance. Because little is known about the author, any assessment of his writing style and scholarly influence can only be based on this single work and cannot yet be developed further.

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