中国民族声乐艺术自古以来就与语言有着不可分割的联系,且渊源颇深。明朝魏良辅的戏曲理论专著《曲律》中云:“曲有三绝,字清为一绝,腔纯为二绝,板正为三绝。”他将“字清”冠三绝之首,古人对于咬字吐字的重视程度可见一斑。“腔纯”列为二绝,是唱好一曲非常重要的要素,足见古人认为行腔在声乐艺术中的地位之高。我国现存最早的声乐论著《唱论》中就提出“声要圆熟,腔要彻满”、“字真、句笃、依腔、贴调”的观点。总之,民族声乐艺术中讲究“字正腔圆”是由来已久的优良传统。这种传统在如今也在延 Since ancient times, the art of Chinese national vocal music has an inalienable relationship with the language and has deep roots. The Ming Dynasty Wei Liang Fu’s opera theory monograph “music law” in the cloud: “song has three must, the word is a must, the cavity is pure, the board is three must. ” He will The first, the ancients pay attention to the degree of articulation can be seen. “Cavity pure ” listed as two must, singing a very important element, shows that the ancients think the line in the vocal art of high status. China’s earliest existing vocals of “Singing” put forward in the “sound to be ripe, the cavity should be full”, “word true, sentence Benedict, according to cavity, paste adjustment” point of view. In short, the emphasis on “vocalization” in the national vocal music art is a long-standing fine tradition. This tradition is now extended