Theory and Practice in Teaching the Chanting of Poetry

[[abstract]]一、詩歌吟唱所涉及的的相關術語義界，歷來眾說紛紜，筆者綜合兩岸學者對於吟誦的相關概念與觀點作一匯整，歸納如次：（一）直讀：以口語速度直接讀出。（二）朗誦：強化詞調高低與抑揚頓挫，彰顯平仄長短及節奏變化。（三）吟誦：依循語言腔調旋律與平仄長短，盡情隨性吟詠。（四）吟唱：旋律既定，傳唱成譜，可配管絃，或配舞蹈。二、詩歌吟唱技巧方面則將其歸納為：（一）發聲方法：以民俗唱法為主，兼採美聲唱法部分優點融合之。（二）吐字及用嗓技巧：吐字用立音，行腔用喉阻音並注意歸韻收聲。三、教學實務方面包括：（一）文獻探討與蒐集：有關專書、曲譜、論文、期刊、影音、網站等資料之蒐集與探究。（二）聲韻調的認識：國語及閩南語聲韻調之介紹。（三）各類吟唱調介紹：固定調、詩社吟唱調、戲曲吟詩調等。（四）吟唱曲調的教學：發聲練習及吟唱音域、定調(Key)與伴奏問題、旋律為先技巧其次、深入淺出契機而教。（五）吟唱表演事務：服裝與道具、伴奏與配舞、燈光與隊形、音量與表情等。[[abstract]]1. Terminology related to the field of the poetic chant has always been the subject of much dispute. The writer integrates concepts and viewpoints from scholars in Taiwan and Mainland China concerning the chanting of poetry, and makes the following conclusions: (1) Direct reading is to read at the speed of oral language. (2) Recitation intensifies the cadence and modulations to bring out the level and oblique tone lengths and changes in rhythm. (3) Intoning follows the melodies of the language and the level and oblique tone lengths to fully express one’s feelings in tonal recitation. (4) Chanting uses a predetermined melody with a score, which can go together with music or dancing. 2. The skills involved in chanting are as follows: (1) The method of producing sounds is based on folk singing with an admixture of bel canto. (2) Enunciation adopts a standard intonation, but the "traveling" tone uses a throaty sound with careful attention to the principle of guiyun shousheng (clarity and precision). 3. Practice in teaching the chanting of poetry includes: (1) Literature review: This concerns the assembly and use of specialist publications, scores, thesis, periodicals, multi-media, and websites. (2) Knowledge of tone and intonation: This is an introduction to Mandarin and Minnan dialect tones and intonation. (3) Introduction of the varieties of chant tones: These are fixed tone, singing tone for poems, recitative tone for operas, and so on. (4) Teaching tone in singing: This involves problems of sound practice, singing registers, key, and accompaniment. The melody is primary; clever techniques come afterwards. When a teachable moment occurs, explain deep and far-reaching ideas in simple language. (5) Matters relevant to performance: These include costumes and stage properties, accompaniment and matching dance, lighting and formation, music volume and facial expressions, and so on