Broadcasting Language Communication Vocal Art Overview

Author: Li Xiaohua
Editor-in-Chief: Du Lihua
Publisher:
Publishing Date: 2000-04-01
Features:
Excerpt: Research Overview
I. The Object of Language Communication Vocal Art
Language communication vocal art is a discipline that studies the skills and techniques of vocal expression in radio and television language communication. Here, language communication primarily refers to radio and television language communication. It is a vocal communication activity conducted by communicators in a specific environment through electroacoustic systems. The "specific environment" refers to the language environment set up or selected according to the needs of radio and television communication, such as radio studios and television studios. To ensure the clarity of the language, sound-absorbing devices are usually installed. In such working environments, announcers and hosts speak to microphones or camera lenses, generally without direct interaction with others in front of them, and can only communicate with imaginary virtual objects.
The "electroacoustic systems" include various types of systems such as radio or television, live or recorded, analog or digital. Spoken language can generally be divided into two categories: daily spoken language and artistic language (artisticized spoken language, oral expression of written language). The former has no special requirements, with smooth communication and clear articulation being the key. The latter has higher requirements, emphasizing the artisticity of pronunciation and vocalization. Radio and television communication language belongs to artistic language. In language communication activities, the audience, the setting, and the method of communication vary, all of which impose special requirements on the quality and quantity of pronunciation and vocalization, differing from daily spoken language. Communicators must master certain language vocalization skills and techniques to better fulfill their communication tasks and achieve ideal communication effects.
Language vocalization research includes two related aspects: one is the study of the material form of language—phonetics, focusing on the phonetic system and its methods of articulation, with vocal training primarily related to the movements of articulation organs. The other is the study of vocalization, which falls under the scope of artistic voice science, focusing on the control and regulation of breath, resonance, sound production, and vocal elasticity. Vocal training is closely linked to the movements of respiratory and resonant organs. The former involves meaning, while the latter is related to emotion. The vocalization we refer to is different from vocalization in vocal music; it is closely related to phonetics, and vocal ability and sound effects must ultimately be reflected in the pronunciation of words, sentences, and the expression of spoken language.
For this reason, articulation and pronunciation have always been an important part of language vocalization research. The focus of our research on language vocalization is on vocalization.
Language communication vocal art, in terms of its technicality and the auditory beauty it brings, is an art. It is a skill that requires scientific training to master. At the same time, after vocal training, not only can language vocalization ability be greatly enhanced, but the voice can also be beautified, its expressive power enriched, and it can acquire certain aesthetic value. However, the auditory beauty that language communication vocal art can provide to the audience is different from the aesthetic beauty of pure artistic language. It is often accompanied by the practicality of information transmission, so it can be said that language communication vocal art is one of the artistic forms of language vocalization, but it is not a pure aesthetic object.
In summary, language communication vocal art is a science that, from physical (acoustics), physiological (articulation organs, mechanisms), and psychological (perception, emotion) aspects, combines theory and practice to explain the laws and training methods of breath and vocalization.
II. The History of Language Vocalization Research
The study of language communication vocal art in China emerged in the era of rapid development of electronic communication technology, and it also has an inseparable connection with traditional Chinese language vocalization art research. Chinese language vocalization research can be traced back to the Tang Dynasty in China, originating from the study of vocalization in opera singing. In the ancient treatises on opera singing methods, there are many insightful views on Chinese language vocalization art.
Afterword: An Overview of Language Communication Vocal Art is one of the research achievements of the Social Science Project of the Ministry of Education. The comrades of Beijing Broadcasting Institute Press have done a lot of work and devoted hard labor for the publication of this book. Here, we express our heartfelt gratitude to them! We are deeply grateful to our mentor, Mr. Zhang Song, for taking the time to write the preface for this book. This book is a summary of research, which, based on the changes in radio and television program formats, starts from the practical problems in the study of language communication practice and vocalization teaching and training, summarizes new experiences, explores new methods, strives for innovation in the theoretical system, and aims to have a broader adaptability and stronger practicality in guiding practice. It is not difficult for readers to notice that this book, in theory, focuses on macro, dynamic analysis and interpretation, with fewer examples and the use of some new concepts different from the past. For beginners, reading this book may pose some challenges, but with some practical experience in language vocalization, it will become easier to understand.
To facilitate teaching use, a language communication vocalization textbook will also be compiled based on the theoretical framework of this book. Due to the urgency of time and the limited level of the author, errors and omissions are inevitable. We sincerely invite fellow experts and readers to offer their valuable advice!
Author: Li Xiaohua
June 16, 1999, Beijing