【摘要】 面对台湾顶尖的十几个音乐家,我丢了两个问题给他们,其中之一是我提醒他们:一种唱法,也就是西洋美声唱法,占据了主流教育系统100年,这个社会还不照你的方式唱歌,到底是谁出了问题?是你们错了还是我们错了?而在此,我们常常容易得出一个轻率的结论:认为不这样唱是因为整个社会的水平很低,整个音乐教育还不够扎实,这可能都是事实,但是一个对西方人是如此简单的唱法在我们文化体里搞了一百年,最后大多数人不会看五线谱,声乐之外的人都不会照那样唱歌,到底谁出了问题?显然问题不是那么简单。后来他们问我,你认为问题出在那里?我给了两个不同答案。 第一个就牵涉到中国人的音色观问题。首先我提醒他们。我们看戏,生旦净末丑,他的发音部位不同,出来的音色也不同。这也就是中国人为什么能"听戏",因为每一个音色出来,我们就能确定她是旦角,是武旦、花旦、彩旦,但我们今天去听西洋歌剧,男声部分就只能是南高音、男中音、男低音之别,用音乐的讲法讲,它只有音区的差别,没有音色的差别。而你若让中国人的戏剧,生旦净末丑同样一个发声,中国人戏会看不下去。所以要认识到音色在中国人的文化系统里发挥的角色。 第二个我提到音乐表现的问题。西方的音乐表现,更像一个"理性"的表现。一个透过现象、穿越现象找到所谓的原则更多还原

【Abstract】 One of the two questions that I asked the dozen musicians from Taiwan is:whose fault it is when the bel canto method of singing,which has dominated the mainstream education system for a century,is still so unpopular in our society? Here, we might easily make this rash conclusion:it is because of the low level of the whole society in which music education sector is still not solid enough.This might be true, but the method of singing so simple to the Westerns has been around in our culture for 100 years,and still most of us do not understand stave. What wrong is it then? I give two different answers.The first deals with the sense of the Chinese people for tone colour. First of all,in our traditional theatre,the five major role types (male,female,painted-face,middle-aged and comic) make different tone colours as they have different vocalizing positions. We Chinese can"listen to an opera"because we can identify their role type from their different tone colour. In Western opera,however,the male part can only be divided into tenor,baritone and bass,or in musical terms,they differ in range rather than in tone colour. In short,tone colour plays an important role in Chinese cultural system.The second refers to the musical expression. Musical expression in the West is more like a’’rational"one,which manages to find the so-called principle and essence after going through the phenomenon. Whenever it appears,it looks just perfect. In the opera La Traviata.when Violetta is dying,she can still sing with strength.But when the Chinese are listening to traditional operas,they have only these words to describe the scene:weak as drifting silk.This does not mean that one is better than the other.I just wish to stress that, as long as you have no means to persuade Chinese or break up the specific features that the Chinese stick to in their music,it is not surprising then that they won’t accept your music.更多还原