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Abstract "Chai toufeng", and Zhao Jiping's "Guan Ju". The singing version selected Fang Qiong, He Leiming, Liao Changyong, Li Xiuying, and Shi Yijie. Singing version of home. Each piece includes a work analysis and singing comparison. Analysis of works, including modern translation of ancient poems, introduction of songwriters, and analysis of musical works. Singing comparison, including the introduction of singers, singing treatment of singers, singing characteristics of singers. The next part not only analyzes and compares the works. It also summarizes and summarizes the contemporary interpretation of Chinese ancient poetry art songs. Key Words: Chinese ancient poetry art songs, Scientific singing, National style, Words from sound, Sound into the cavity, Cavity bite lip decoration 
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Abstract direction that the Chinese vocal school should establish. 1n the fourth part, new ideas of Chinese ancient poetry art songs are put forward. On the basis of summing up the academic research and singing experience of the predecessors, and combining with their own singing practice, this article puts forward and discusses the singing principles of Chinese ancient poetry art songs. Sumrnarized as the sound, sound into the cavity, cavity bite lip decoration." The word Congyin ernphasizes that the singing rnust follow the rnusic score and pay attention to the intonation; the sound enters the cavity, which emphasizes the resonance of the pharyngeal cavity, and pays attention to the professionalisrn of modern vocal rnusic; And rnodification to achieve accurate, clear, cornplete and full Chinese characters. The fifth part, based on the "Huang Lu Chinese Art Songs Tour of 100 Schools" as a practical basis, combined with rny performance and comrnunication, discusses the current spread value of Chinese ancient poetry and art songs, including the response of different audiences, sound effects of different theaters, and Atternpts of various perforrnance forrns. The modern interpretation of the next part divides Chinese ancient poetry and art songs into three types: ancient songs, rnodern classics, and conternporary new works. Each type has three selected songs. The selected works are both vocal teaching repertoires and are often perforrned on the stage. There are rnany singing versions of singers left.The selected singing version is also a representative singer, sorne have died, and some are well-known singers who are active on the dornestic or international stage. It also includes world farnous foreign songwriters. The singing version used for comparison involves different genders, different singing rnethods, different voices, different treatments, and also includes uncomrnon tenor.These singers' editions are used for appreciation, as a paradigrn, to show the various presentation methods and deductive characteristics of Chinese ancient poetry art songs. At the sarne tirne, they have jointly forrned sorne new features of rnodern interpretation of Chinese ancient poetry art songs. For exarnple, scientific vocalization methods, clear articulation and spitting, focusing on the expression of the lyrics and artistic conception, and individualized vocal perforrnances. Ancient songs include "Three Stacks of Yangguan", "Apricot Blossorn Shadow" and "Old Fisherrnan". The singing version is selected by Guo Shuzhen, Jiang Jiazhen, Zhang Liping, Lei Jia. Recently, the classics are selected, including Live on the Yangtze River" and Huang Zi's "Dianjiangchun' Yang, Shi Yijie singing version of seven singers. New conternporary works include Ao Changqun's "Jiang Yi's lV 万⽅数据

(Art 
Song), (Art Song) A song intended for the concert repertory, to a traditional or popular song. The terrn is more often applied to solo than to polyphonic 11 万⽅数据

Abstract Abstract Chinese ancient poetry art songs are an important part of Chinese art songs. Chinese art songs are a vocal genre created by Chinese composers who study Western theories of composition technology combined with national styles.In 1920, The Great River Going East (Su Shi Ci) by <PRESIDIO_ANONYMIZED_PERSON> was the first Chinese ancient poetry art song, and it opened a century-long history of Chinese modern art songs. China's outstanding ancient poetry and art songs have important historical and aesthetic values, and they are more and more valued and loved by people. Their performances are constant and new. This article selects the singing of Chinese ancient poetry art songs as the research The title of this article is the singing study of Chinese ancient poetry art songs. The first part is a theoretical explanation of singing, and the second part is a modern mterpretatIon. The first part consists of five parts: In the first part, the connotation and extension of Chinese and foreign art songs are summarized and summarized. Chinese art songs have been extended based on the connotations of Western art songs. Some non-art songs have the genre of art songs through certain conditions. Quality.Introduce the characteristics of Chinese ancient poetry art songs, such as diverse techniques, rich themes, and elegant singing. Three types include ancient songs, modern c1assics, and contemporary new works. The second part analyzes the relationship between lyrics and music of Chinese ancient poetry art songs, and introduces the general relationship between Chinese and foreign art songs. The emphasis is on the relationship between music and lyrics imagery. This paper introduces three processing methods of Chinese rhyme and tone, such as Qu Congwen, Wen Cong Qu, and Wen Qu Freedom.This part also discusses how Chinese ancient poetry and art songs are processed through singing, such as the artistic endowment of section songs, or the processing of gas and mouth connections, etc., through reasonable singing processing, to convey lyrics, shape images, and reproduce moods. The third part explores the relationship between singing style and style of Chinese ancient poetry art songs. These include scientific singing, national style, and a combination of the two. Scientific singing includes introduction of vocal cord c1osure, breathing resonance, and so on. The national style includes the introduction of the meaning of the word, the tone of the rhyme, the tone of the word, and the tone of the word.It discusses that the singing of Chinese ancient poetry and art songs should not only have the scientific nature of singing, but also the style of Chinese nation. It is pointed out that the organic combination of singing and style is the 111 万⽅数据

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