How to move from piano room to stage —— Taking vocal performance as the main research object

Anyang normal University Conservatory of Music, Anyang, Henan 455000. : J6 16 File Identification Code: A Abstract: The piano room is a place for students to practice their playing skills, and the stage is a platform for students to show their skills. It is the only way for students majoring in performance to walk from the piano room to the stage, so some necessary exercises in the piano room are particularly important before walking on the stage. Based on the study practice, this paper expounds from three aspects: vocal psychology, body aesthetics and music qigong, and explains the significance of the necessary exercises in the piano room to the stage performance. Key words: Vocal Psychology, Body Aesthetics, Music Qigong, Preface In the teaching of professional music performance, most students only practice their singing skills in the piano room because teachers stress on the high requirements of students' professional skills. When they are doing these exercises, in order to seek a high position, they often ignore their posture and facial expressions. Because I can't sing high notes for myself, I am impatient and impatient, which will cause psychological obstacles for a long time. These problems have affected our future stage performances. It can be seen that the practice of the piano room should be a comprehensive and multifaceted practice, including singing skills, vocal psychology, body aesthetics and other aspects, so as not to be in a hurry when you step onto the stage. First, the hardware requirements of the piano room facilities The piano room is the place where students majoring in music performance spend the longest time, and it should also be the place where the school invests the most hardware. There should be a piano with accurate melody in the piano room, and it should be tuned every three months. There should also be a mirror to let students pay attention to their facial expressions and body movements when singing. It is very important to install a sound insulation board on the inner wall of the piano room. There is no sound barrier. When students sing, what they hear in the room is more their own voice than their own internal pipes. In the long run, they will have the illusion that their voice is rich and loud, but they don't know that it is their real voice. When they stepped onto the stage, their voice defects were exposed. In addition, the lack of sound barrier also affects their intonation. Many students' intonation errors are due to long-term absence of sound barrier. The piano room has complete hardware facilities, so students will have a good starting point when practicing singing, and it is not easy to make similar mistakes. Students with psychological, physiological and technical control obstacles in singing practice in the ordinary piano room, instead of linking the stage with the singing on the stage, most of them train purposefully. There is no necessary preparation for the psychological activation and control level required for concert singing, and there is no targeted adaptation to the differences in information intensity and mode changes between the two fields. When you step onto the stage, stimulated by a large audience and lights, you will feel mentally and emotionally uncomfortable, which will lead to the loss of control of psychology, physiology and skills, and in severe cases, you may stop singing. It can be seen that it is very important to cultivate self-confidence in the usual piano room training. Only when you have a healthy and confident singing psychology can you fully show your voice on the stage. Healthy and confident singing psychology is not formed overnight. It is formed through continuous vocal practice. Before going on stage, the singer spent most of his time in the piano room. Therefore, there must be strict requirements in the study and training of the piano room. Under the guidance of such strict requirements, the correct psychology of singing performance can be gradually formed over time. First of all, don't blindly sing in the piano room, and don't blindly pursue high notes, because singing is a conscious and purposeful singing activity. Don't sing blindly without thinking. Blind singing can easily deviate from scientific vocal methods, and you will also be criticized by teachers in professional classes and lose confidence in your singing. Over time, singing will have psychological obstacles. If you think while singing in ordinary singing practice, and think about the feeling of singing that the teacher said in the process of singing, you will make progress gradually after repeated practice, and the teacher will give constant encouragement to students who love thinking, so that your self-confidence will be gradually established. With this good start, the psychological obstacles in singing can be eliminated in the bud. Periodical articles are classified and inquired in periodical library. Don't blindly pursue high notes, and don't sing high notes for the sake of singing high notes. The widening of singing range is a gradual process. When your skills don't reach a certain level, you can't sing high notes. Even if you sing, the quality is not high and it is harsh. It is better to sing alto carefully and steadily than to sing high notes in a shrill voice. A solid foundation of midrange can achieve high notes. Professor Tao Sha once said: "Expanding the musical range is like building a staircase, which must be done step by step.". The previous step is mentioned in the next step. Only by connecting them together can we build higher. " So is singing. We should sing C2 after singing C2 well, then sing D2 on the basis of C2, and so on, to broaden the range. In this way, students will feel that they are constantly improving and their self-confidence is constantly enhanced, which will well eliminate the psychological panic of some students when singing high notes. Third, the introduction of music qigong into the piano room, singing, practicing qigong and music performance seem to have their own purposes, but in fact there are similarities. The "meaning" in Qigong and the "spirit" in singing performance belong to human spirit and have many similarities. "Qi" is a material means inseparable from "meaning" and "spirit", which makes the "shape and sound" of singing performance full of vitality and harmony. Qigong requires "qi" to pass through all points, without stagnation or rising; Singing performance also emphasizes good luck and epiphany. "if the law is not obeyed, the disease of qi is also." It can be seen that Qi plays an important role in singing performance. Qigong emphasizes the unity of opposites between "mind method" and "interest method". "Mind method" is a method to explore the control of people's consciousness on emotions and thoughts. "Breathing method" is a control method to study how to make the vitality run and breathe freely through the guidance of ideas. The combination of the two methods will form a special form of "external movement and internal tranquility", which in a sense coincides with "excitement in relaxation" and "tension in calm" "Mind method" is related to the singer's mood and spirit; "Breathing method" is connected with the singer's breath and breath. Using the two methods of "heart and qi" in Qigong can eliminate the emotional fluctuation and respiratory disorder when singing, which is very effective. Fourth, the aesthetic requirements of body movements In the art of vocal music performance, both the actor himself and the role shaping have the requirements of the beauty of body movements. The modeling beauty of body movements requires an actor to have a sense of beauty, whether it is himself or in the action of characterization. The embodiment of this kind of plastic beauty is realized in constant movement and change according to the needs of content and plot expression, and it is necessary to constantly adjust one's posture and expression in ordinary singing practice in order to achieve the perfect unity of physical beauty, physical beauty, elegant appearance beauty and personality temperament beauty. This requires us to develop a correct singing posture in the practice of the piano room. The body should stand upright naturally and relax naturally. The relaxation here is by no means loose, but should present a positive state, that is, a state of full spirit. Keep your head slightly higher than your eyes, your chest naturally stand up, your shoulders slightly lower and backward, your lower abdomen contracts, your arms naturally droop, and your whole body is in active motion. Feet are slightly apart, front feet are focused, body weight should be balanced, and the weight falls on both feet. Face should be natural, eyes should be natural and vivid, eyes are the windows of the soul, so don't go up and down when singing. Also, the mouth is a singing horn. Keep it open and loose. Remember to grit your teeth. When singing, you can give appropriate actions according to the inner feelings of the song, but the actions should be concise and generous, and avoid affectation and gilding the lily. In short, the posture when singing should be positive, stimulating, graceful and generous, and all parts of the body should be natural, relaxed and coordinated, which will help us breathe, make sounds and sing. To sum up, the piano room is the learning place where every professional music performer stays for the longest time, and almost every singer can't live without it. Therefore, there should be strict requirements and rules for studying in the piano room, so that students can practice in the piano room and avoid detours. I can be more calm and confident before I go on stage. [2] Luo. 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