阉人歌手是欧洲十七、十八世纪伴随歌剧艺术而繁荣发展的一种歌手类别,他有男性强大身体力度和气息支撑着一个孩童般清脆靓丽的嗓音,所发出的声音被当时的观众视为“无与伦比”之音。他产生的直接原因是其所处的宗教坏境,但进一步发现,他又是宗教思想矛盾化发展的产物。他的进一步发展离不开17、18世纪的社会文化因素。他的衰落归因为五部分即,自身炫技性的表现、人道主义精神的觉醒、音乐艺术审美的变化、声乐技术的正规化发展和鲁克的歌剧改革要求。我们应该用辩证的思维方式去评价阉人歌手的历史地位,他一方面促进了声乐艺术的发展,一方面由于其自身的炫技性因素使其艺术性衰落。当然最具有实际效益的是我们应该用历史的眼光去看待阉人歌手为当今声乐教育带来的启迪。 Eunuch singer is a category of singers that flourished with the art of opera in the 17th and 18th centuries in Europe. He has a strong body and breath of man supporting a childish and crisp voice, the voices of the audience being regarded as “Unmatched ” sound. He was directly responsible for the religious environment in which he lived, but further found that he was also the product of the contradictory development of religious thought. His further development can not be separated from the social and cultural factors of the 17th and 18th centuries. His decline is attributed to five parts: the performance of his own virtuosity, the awakening of the humanitarian spirit, the aesthetic changes of music art, the normalized development of vocal music techniques and the demands of Luke’s opera reform. We should use a dialectical way of thinking to assess the historical status of the eunuch singer, on the one hand, he promoted the development of vocal music art, on the one hand because of its own virtuoso factors make it artistic decline. Of course, the most practical benefit is that we should take a historical look at the enlightenment brought by vocal singers for today’s vocal education.