“声中无字,字中有声”,是我国北宋科学家沈括在他不朽巨著《梦溪笔谈》中提到的一则古代唱论,今天看来,它们仍是声乐艺术的表演与创作中的一项重要原则。什么叫作“声中无字”呢?沈括以为,乐曲本身只是一连串或高亢清亮、或低沉浑厚,绵延曲折、环绕不息的乐音;歌曲中字(词),是靠着喉、唇、舌、齿等不同器官共同产生的,应当使每个字的发声、落韵、收音清晰圆润,完全融化在音乐之中,使转腔换字之间纯净无杂音,听不出疙瘩,这就叫作“声中无字”,亦即古人称为“如贯珠”的效果。这里,沈括提出了声乐艺术上的一个重要问题,就是曲调与歌词之间在演唱方法上,作品的创作上如何统一的问题。曲调本身是由结合了长短、强弱、发音体 “There is no word in the sound, there is a sound in the word” is an ancient remarks mentioned by Shen Kuo in his immortal monograph “Meng Xi Bi Tan Tan” in Northern Song Dynasty. Today it is still the performance and creation of vocal music art An important principle. Shen Kuo believes that the music itself is only a series of high-pitched or clear, or deep deep, winding, endless music; songs in the word (words), relying on the throat, lips, tongue, Tooth and other organs together, each word should be made of sound, falling rhyme, radio clear and mellow, completely melted in the music, so that the rotary switch between the pure and clean noise, can not hear the knot, which is called “No sound in the word”, that is, the ancients called “consistent beads” effect. Here, Shen Kuo proposed an important issue in the art of vocal music, that is, how to harmonize the composition between the tunes and lyrics in terms of singing methods and works. The melody itself is a combination of length, strength, pronunciation body