Giọng nữ cao (soprano) trong opera việt nam

MINISTRY OF EDUCATION AND TRAINING, MINISTRY OF CULTURE, SPORTS & TOURISM, NATIONAL MUSIC ACADEMY VIETNAM NGUYEN KHANH TRANG SOPRANO IN VIETNAMESE OPERA Department: Musicology Code of department: 62 21 02 01 SUMMARY OF DOCTOR MUSICAL ARTS’S THESIS HA NOI, 2021 The work was completed at the Vietnam National Academy of Music Scientific guide: Doctor LE ANH TUAN Argument 1: Argument 2: The thesis will be defended with the Academic Thesis Evaluation Council meeting at Time: The recommended sources for this research: Library of the the Vietnam National Academy of Music TABLE OF CONTENTS INTRODUCTION CHAPTER THEORICAL BASIS AND PRACTICE 1.1 Research approaches 1.1.1 Analytical approach to Musicology 1.1.2 Approaches to Performance Pedagogy .7 1.2 Overview of the history of the development of the soprano voice 1.2.1 Vocal concept 1.2.2 Soprano 1.2.3 Soprano in Vietnamese opera 1.3 Bel canto - Singing Vietnamese with bel canto style .7 1.3.1 Bel canto 1.3.2 Singing Vietnamese with bel canto style .8 1.4 Opera - An overview of the formation and development of Vietnamese opera 1.4.1 Opera concept………………… 1.4.2 Overview of the formation and development of Vietnamese opera Sub-Conclusion .8 CHAPTER SOPRANO IN VIETNAMESE OPERA FROM MUSICAL ANALYSIS PERSPECTIVE .10 2.1 Soprano in the structure and musical content of Vietnamese operas……………………… 10 2.1.1.Soprano in musical structure .10 2.1.2.Soprano in musical content 11 2.2 Soprano in Vietnamese opera repertoire 11 2.2.1 Musical characteristics of solo repertoires written for sopranos 11 2.2.2 Musical characteristics of choir performances with the participation of sopranos………… 11 2.3 Soprano in relation to the orchestra 11 2.3.1.Homophonic music…………… 12 2.3.2 Other types of orchestra and Soprano combinations 12 Sub-Conclusion 12 CHAPTER SOPRANO IN VIETNAMESE OPERA ACCESSED FROM THE OF PERFORMANCE ASPECT……………… 14 3.1 Vietnamese pronunciation in soprano repertoire… ……………………………………… 14 3.1.1 Some technical problems of Vietnamese pronunciation in the performance of soprano 14 3.1.2 Lyrics in the soprano repertoire and Vietnamese pronunciation techniques .15 3.1.3 The range of soprano repertoires and Vietnamese pronunciation problems .15 3.2 Demonstrating bel canto technique in soprano repertoires 16 3.3 Expression of ethnic musical elements in soprano repertoires .16 3.3.1 Material of ethnic music in soprano repertoires 16 3.3.2 Vocal technique demonstrates ethnic music material in soprano repertoires………… 17 3.4 Solutions in training and performing soprano in Vietnamese opera …………………… 17 3.4.1 About the document 18 3.4.2 About training 18 3.4.3 Some solutions in practicing and performing works 18 3.4.4 A few notes on practicing and performing the work 19 Sub-conclusion…………………………………………… 19 CONCLUSIONS AND RECOMMENDATIONS 21 INTRODUCTION Reason for choosing the topic The formation and development of Vietnamese singing and Vietnamese opera art only started in the second half of the twentieth century Over half a century, Vietnamese opera art has accomplished certain achievements There have been dozens of musical plays, operas were born, successfully performed many famous international operas and Vietnamese operas Forming a team of artists, who have dedicated their lives and careers to opera performance and professional training However, according to Doctor of Art Nguyen Trung Kien said: “ If we look at it objectively, we still don't really have a sustainable professional opera art It needs to be more investment and attention, especially in the field of composing…” (1) A few Vietnamese operas have only been restored and staged on stage in recent years The exploitation of vocal repertoire in Vietnamese operas for performance is still too meager, showing inadequate attention to this genre In terms of training, the curriculum rarely has the Vietnamese opera performance In semester contests, graduation exams, and professional awards for experiments or scholastic music performances, the use of experimental acts in Vietnamese opera is rare and odd Although the number of Vietnamese opera works is not much (8 plays), but the repertoire of solo, duet, trio for all kinds of voices in Vietnamese opera still has enough professional quality to be used independently in performance and teaching These are always the performances that mark the the play in terms of content, roles, and singing techniques, thereby creating an impression on the performers, especially those written for sopranos, which always dominate and often play as the female lead in the play On the other hand, the sources of the repertoire written for different types of voices that can be used in performance and teaching has not yet been invested in research, system, and introduction of artistic characteristics, performed with the characteristics of the voice, on the technique of processing works Especially the repertoire written for the soprano in Vietnamese opera The technical requirements for vocal expression and structure-system relationship (such as the connection with other components like the content of the play, the symphony orchestra, the relationship with other roles and other voices ) in order to improve performance, meet the requirements of the opera genre, especially with Vietnamese opera, are the problems of performing science and practice of the Musicology that so far there are still not many research works For the reasons mentioned above, we chose the topic "Soprano in Vietnamese opera" to research and conduct a doctoral thesis majoring in English at the Vietnam National Academy of Music Research history Up to now, Vietnamese singing in general and Vietnamese opera in particular have been studied from different angles Within the scope of materials, texts and sounds that we have researched, collected from home and abroad, the following approaches can be divided: Domestic documents Group of specialized research papers, mainly on technical vocal issues and opera * Group of documents on technical problems of experiments, about processing Vietnamese in singing * Group of research papers on opera and Vietnamese opera * The document group is the text, the score, the DVD of the Vietnamese operas The large-scale research group is related to the historical and scientific contents, the formation and development of the Vietnamese new music scene in general Foreign documents Consists of two groups: In-depth research group on sopranos Research group related to opera performance practice, background knowledge as a theoretical basis for research into opera performance practice Goals of research - Dissertation on studying soprano in Vietnamese opera from analysis of, detecting musical characteristics through music content, solo or choir performances with sopranos participating together with research on relationships relationship between the soprano with elements and components in opera From there, identifying musical characteristics, relationships and roles of sopranos in Vietnamese operas - Research on experimental techniques for expressing soprano in the repertoire of Vietnamese operas, mainly in terms of Vietnamese pronunciation, bel canto technique and the expression of ethnic musical elements by traditional techniques singing art Accordingly, the thesis also offers some techniques for processing works, connecting with other components of the play, of the symphony orchestra Research object The thesis identifies the research object as the soprano in Vietnamese opera with two specific aspects: The relationship of the soprano with other elements in opera and techniques for expressing soprano in Vietnamese operas Research scope The research scope of the thesis is the soprano repertoire in Vietnamese operas The thesis only focuses on studying vocal performance through collected Vietnamese opera texts Research methods To study the topic "Soprano in Vietnamese opera", the thesis uses a combination of research methods as follows: - Methodological system of Musicology is a science whose research object is music However, the specialties of this science are very rich and wide, and each discipline has a system of different research methods and techniques - Methods of information collection, information analysis, comparison, comparison, inductive interpretation The methods of music analysis are all directed to the study of soprano in Vietnamese opera - Discourse method to introduce, solve and analyze issues related to the thesis - Systematic- structural method: The thesis puts the soprano in the relationship with the musical content, with the elements and components of an opera to study the position and role of the soprano in Vietnamese opera At the same time, using the structural system method to study the coordination between melody and lyrics and the content of the play, between the use of bel canto technique and the performance of solo and choral repertoire Soprano participates, between the technique of bel canto and the performance of ethnic music in Vietnamese opera - Pedagogical experimental method: Provide technical exercises that have been researched and drawn from personal experience of performing arts into pedagogical experiments Helping singers and students of the singing department to overcome the limitations and gradually solve the difficulties when performing Vietnamese works, especially with the soprano repertoire in Vietnamese operas 7 Dissertation contributions - The thesis is the first in-depth research on sopranos in Vietnamese opera Approaching from the perspective of musicology analysis and performance pedagogy is an applied study, opening the way for further studies on the genre show vocals in Vietnamese musical works This is an area of research that is in its infancy - The thesis contributes to clarifying the musical characteristics of the soprano in Vietnamese opera from viewpoints, methods, and research techniques from the perspective of musicology From there, providing performers with knowledge of the musical content, position, role, relationship with the orchestra band of the soprano in Vietnamese operas that they can be applied in practice professional practice - The research results of the thesis on the technical characteristics of performing solo or choir with sopranos participating (in Vietnamese opera) make a positive contribution to practice and teaching Suggestions on techniques and technical exercises in a creative and appropriate way, while still preserving the national identity of the Vietnamese outlined in the thesis can be used in teaching and performing professional experiments - The introduction of soprano repertoire in Vietnamese opera contributes to the curriculum at the singing faculty of the training institutions - The thesis can be used as a reference for musicians composing the opera genre, studying the typical soprano in opera, as references for related works Dissertation layout In addition to the introduction, to conclude, references and appendices, the thesis consists of chapters: - Chapter 1: Theoretical and practical basis mentions two main research approaches of the topic Overview of the history of soprano voice, explanation of important concepts of voice, bel canto, singing Vietnamese with bel canto , overview of opera, history of formation and development of Vietnamese opera through stages to serve as a theoretical and practical basis for the thesis These are the basic contents to serve the study of chapters and - Chapter 2: Soprano in Vietnamese opera approaches from the perspective of Musicology analysis This chapter analyzes and introduces the musical characteristics of sopranos in Vietnamese operas through the presence of musical themes for sopranos in the musical content of the work; through the survey and analysis of solo and choir repertoire with the participation of sopranos; relationship between soprano and other elements in Vietnamese opera works - Chapter 3: Soprano in Vietnamese opera approached from the perspective of performance pedagogy This chapter presents the problem of Vietnamese pronunciation technique, the problem of using the bel canto technique and the techniques used to express the elements of national music for soprano repertoires Suggest practical exercises to solve limitations and difficulties in soprano technique, offer solutions from the perspective of training and performance CHAPTER THEORETICAL BASIS AND PRACTICE The content of chapter presents the theoretical and practical foundations to serve as a basis for researching the problem of soprano in Vietnamese opera in the following chapters We present the research approaches of the thesis, which are: analytical approach and pedagogical performance approach In addition, the thesis provides an overview of the development of the soprano voice, mentions several professional vocal concepts such as voice, bel canto, Vietnamese singing All these contents are the theoretical and practical basis for the study of chapters and of the dissertation 1.1 Research approaches 1.1.1 An analytical approach to Musicology 1.1.2 Approach to Performance Pedagogy 1.2 Overview of the development of the soprano voice 1.2.1 Definition of vocal 1.2.2 Soprano (soprano) 1.2.2.1 Definition of soprano 1.2.2.2 Characteristics of Soprano 1.2.2.3 High pitches of soprano 1.2.2.4 Female high voice types 1.2.3 Female’s high voice in Vietnamese opera It can be said that the birth of Vietnamese opera is associated with the creation, arrangement, separation, and evaluation of the vocal types in Vietnamese opera according to Western standards and names Apparently soprano, the main type of plays and almost forums 1.3 Bel canto - Singing Vietnamese with bel canto style 1.3.1 Bel canto 1.3.2 Singing Vietnamese with bel canto style 1.4 Opera - An overview of the formation and development of Vietnamese opera 1.4.1 Opera concept 11 mentioned as a typical style of opera with singing techniques such as: cantilena technique, staccato singing technique, recitative singing technique, passage singing technique) From the brief presentation of some features in Vietnamese, the thesis refers to the concept of Vietnamese singing with bel canto style This is a concept that will be researched in detail in chapter - The practical basis of the thesis is a brief presentation on the development of the soprano voice, opera and Vietnamese opera Since its appearance, through many stages of development, sopranos are associated with the development of opera In Vietnam, opera art was only formed in 1965 Up to now, Vietnamese opera art is still young compared to the development of opera in the world However, over more than half a century, Vietnamese opera has also achieved certain achievements with a team of trained actors, composers and a number of typical works Sopranos are also an important contributing factor in those developments 12 CHAPTER SOPRANO IN VIETNAMESE OPERA FROM MUSICAL ANALYSIS With the topic Soprano in Vietnamese opera, chapter identifies musical characteristics of soprano in Vietnamese operas from an analytical musicology Through the survey, we analyze the presence of soprano in the musical structure and content of operas Through the musical content of solo and choir performances with the participation of sopranos, we clarify the position, role, content and musical characteristics of the soprano in Vietnamese opera At the same time, the chapter also introduces the soprano characteristics in the relationship of soprano with orchestra in Vietnamese operas The contents showing the characteristics of the soprano in musical works, namely Vietnamese operas, analyzed and introduced in Chapter 2, will be implemented by a system of research methods (methodologies) of the English industry 2.1 Soprano in the structure and musical content of Vietnamese operas 2.1.1 Soprano in musical structure From the summary table: The play with the most solo performances by the female lead is Co Sao, with 5/6 performances accounting for 83% The play with solo performances of the female lead accounted for at least the play On the shore of K'rong Pa, with 2/9 performances accounting for 22% The play with the most popular duet, trio performances with the female lead role are the play My Love, with 4/4 performances accounting for 100% Alcohol keeper, with 3/3 repertoire accounting for 100% Red leaf, with 3/3 of the repertoire accounting for 100% The play with the performances of duet and trio with the female lead accounted for at least is The Sculptor with 3/6 performances accounting for 50% The play has choir performances by the most female lead is My Love, with 5/5 performances accounting for 100%, the play The Alcohol Keeper, with 11/11 performances accounting for 100% The play with the female lead choir repertoire accounted for at least the play The Sculptor, with 8/14 performances accounting for 57% 2.1.2 Soprano in music content 13 The relationship between the soprano-main female repertoire and the musical content of the opera is a consistent relationship, expressed in musical themes In musical works, the musical theme, in the sense of being the component expressing the main and core ideas of the work, is the content that most shows this relationship The theme can be a musical idea, melody, or part of the melody containing specific features, it is also the part of the music that is affirmed and repeated many times 2.2 Soprano in Vietnamese opera performances 2.2.1 Musical characteristics of solo repertoires written for sopranos 2.2.1.1 Music content arias for sopranos 2.2.1.2 Musical content of other solo forms for sopranos 2.2.2 Musical characteristics of choir performances with the participation of sopranos 2.2.2.1 Soprano in duet performances 2.2.2.2 Soprano in trio 2.2.2.3 Soprano in choir 2.3 Soprano in relation to the orchestra Dan symphony music is always present in classical European opera In addition to the function, can show independent musical parts: music opening the screen, ending, transitioning , the orchestra also coordinates with vocal vocals in opera twelfth 2.3.1 Technical homonyms In the passages where the soprano and the orchestra are combined, the technique of transmutation appears to be the homophony technique In sopranos, high-pitched, melodic songs and trios have one (or a group of) orchestral instruments accompanied by the singing melody, creating an effect of sound support and tonal mixing… 2.3.2 Different arrangements between orchestra and soprano Create a background: The setting in the opera can be done by the coordination between the orchestra, the vocals, the scene on the stage Record the music into the first piece of music to set the scene, then the vocals appear, continuing to clarify the development of the script In addition to the position on the board, the orchestra also incorporates the same voice throughout the performance to contribute to 14 the construction of the scene with the use of rhythm sounds, instrument sounds, harmony, volume The orchestra heralds the soprano's theme melody: In some performances, the orchestra incorporates vocals as the forerunner of the theme melody Orchestra dialogue with vocals or fill in places where vocals linger or rest Sub-conclusion With the methodology of the English industry, chapter of the thesis has focused on researching, surveying, and analyzing musical characteristics of sopranos in Vietnamese operas in terms of: layout, content, image music of sopranos, examining soprano repertoires and the relationship of sopranos to orchestras - We have proved that the soprano always prevails in Vietnamese operas not only due to the number of repertoire but also the musical content shown in the works Through the soprano's solo, duet, trio, and choir we have selected the pieces with complete artistic value and content, so that they can be used independently in teaching and performing - We have clarified the coordination relationship between soprano and orchestra in homophonic technique with the role of volume support and color mixing In addition to homonymy, other types of orchestration and soprano coordination are shown, such as: setting the scene, foretelling the theme melody, dialogue with the vocals, filling in where the vocals hang or pause understanding the coordination relationship with the orchestra will help the singer be more active in performing the work, balance the vocal volume, and achieve the highest performance Surveying and researching from the above aspects help us to identify the soprano in Vietnamese operas with clear musical appearance and characteristics These characteristics will suggest the selection and use of specific musical techniques in each performance to practice in performing and teaching experiments, contributing to the performance of soprano in Vietnamese opera in a more creative and effective way It is also one of the trends and research methods of modern music field, selected by the thesis to solve the problems posed 15 CHAPTER SOPRANO IN VIETNAMESE OPERA ACCESSORIES FROM METHODOLOGICAL PERFORMANCE For Vietnamese works performed by the bel canto technique, more specific studies will be required to best represent the musical content With this approach, Chapter will delve deeper into the problem of Vietnamese pronunciation techniques, the problem of using the bel canto technique, the techniques used to express the elements of ethnic music for the soprano repertoire The application of bel canto technique to each specific case is summarized and introduced in chapter 3, with the experience of teachers, performers, researchers, and approaches from the methodological perspective 3.1 Vietnamese pronunciation in soprano repertoires in Vietnamese opera 3.1.1 Some technical problems of Vietnamese pronunciation in the performance of sopranos Singing technique in Vietnamese opera is different from classical European opera That difference mainly comes from the difference in language, pronunciation (intonation and accent), along with elements of ethnic music in different regions of Vietnam The singer must be skillful in combining the bel canto technique of the Western folk with the technique of expressing Vietnamese national tones When singing Vietnamese opera, even though they are well equipped with bel canto techniques, they still need to understand the basic characteristics of the Vietnamese language Practice the vowels of Vietnamese from the beginning carefully, clearly, and well prepare for language processing, attachment, accompaniment in folk singing and traditional music, melodies with accents ethnic influence these solutions will help singers and students to overcome the 16 difficulties and limitations from the difference in combining Western singing techniques into the Vietnamese language On the basis of applying bel canto technique in performing Vietnamese operas, we have found out some problems about the expression of Vietnamese voice accents, how to use open and closed sounds in vocal melodies of Vietnamese soprano 3.1.2 Lyrics in soprano performances and Vietnamese pronunciation techniques Going deep into the problem of lyric language in the work, we want the learners to sing and the actors to better understand the language of the characters, the era in which the story takes place From that, the acting of the language will also achieve the nuances of the role, the character's personality, and the historical period of the play The lyrics will help the singer perform well, pronounce the words so that they are round and clear Moreover, the singer must also overcome the limitations of the lyrics with the constraints of Vietnamese pronunciation to help listeners perceive the content of the performance coherently and concisely, as well as create a genuine feeling for the role 3.1.3 The range of the soprano repertoire and the problem of Vietnamese pronunciation In Vietnamese operas, the sopranos are mostly lyrical so the musicians have focused on expanding the vocal range in the mid and lower registers rather than exploiting the notes in the Vietnamese operas high vocal range This is completely suitable when expressing the character's personality with lyrical vocals, in narrative or reciprocal singing performances with lyrics with many accents such as accents (\), heavy accents (.), etc In terms of vocal range, this is not a difficult problem for Vietnamese sopranos when expressing musical melodies using the bel canto technique However, expressing musical melodies by bel canto technique still solves difficult problems in the Vietnamese language such as word processing with closed sounds, accentmarks, words that are opposite to the melody, when singing the notes in the high and long tones, show the national melody while still maintaining the volume of the voice in front of the symphony orchestra, clarifying the personality characters, content requires specific solutions for learners and singers to research, study and experience 3.2 Demonstrating bel canto technique in soprano repertoire From the perspective of the singer, performing experimental acts in opera using Western experimental techniques is "required" The limitations and inadequacies need to be supported and 17 solved when combining techniques: instant singing, bouncing singing, vocal singing, fast gliding singing, singing with loud and small nuances, fluttering singing into the language Vietnamese language will be introduced below through some typical performances of sopranos or performances with the participation of sopranos From some typical examples above, it is clear that singing techniques such as: legato singing, detached sounds singing, staggered singing, speaking singing, fast skimming, singing with loud and small nuances has been used by musicians in solo performances and in sopranos These singing techniques are introduced into the Vietnamese language with the aim of expressing the content, describing each dramatic situation, specific character characteristics in a reasonable, fluent and appropriate manner suggested exercises for each performance with specific requirements to help learners and performers solve difficult problems, difficult points, and disadvantages when combining Western singing techniques, Vietnamese language before entering the work 3.3 Expressing elements of ethnic music in soprano repertoires 3.3.1 Material of ethnic music in soprano performances Musical materials are the “original elements that evoke musical emotions”3 that the artists have collected in their lives and used them to express themselves in their music Music material is expressed in a variety of ways in life Specific ethnic music materials can be folk tunes, folk music, familiar rhythms in real life, including impressions and emotions in literary and poetic works painting expressing the soul and culture of the nation For the performances written for sopranos, who are the main roles, the authors have focused on building a musical image with materials with their own distinct identity As can be seen, using sound materials The typical music makes the musical theme of the soprano repertoires more condensed, creating its own characteristics, highlights, and musical image for the repertoire as well as for the opera In which, in addition to using the original folk tune, there is also a way to use the scale - mode, use motifs or musical strokes, specific intervals as materials to build musical repertoire in operas Vietnam 3.3.2 Vocal technique shows ethnic music material in soprano repertoire For opera art in general, the main artistic and technical criterion for expression is always bel canto art However, with Vietnamese opera, performances that use folk tunes and traditional Vietnamese music, the use of bel canto technique to perform needs to be noted in order to be 18 harmonious and appropriate The singer must be able to show the spirit of the melody, have the sophistication in the combination of bel canto technique and traditional singing styles such as: regional folk songs, lullabies, chanting, ca tru peach, cheo In this section, we will give some typical examples of the technique of singing bel canto combined with elements of traditional national music through some sopranos, giving the suggested exercises 3.4 Solution in training and performing soprano in Vietnamese opera On the basis of the above analysis, we find it necessary to give some problems and solutions in the use of experimental stages and repertoires Soprano in Vietnamese opera contributes to improving the quality of teaching practice at the Department of Natural Resources of the training institutions as follows: 3.4.1 About the document In the process of research and teaching practice, we have scientifically selected, arranged and systematized the stages, experimental repertoire (single, duet, trio ) for vocals Soprano in Vietnamese opera with independent content, showing clear character and musical image with her own experimental techniques, which can be used independently in training and performance (from pl X) We designed it as a professional manual on Vietnamese opera, providing all the necessary and easy-to-understand contents from: work text, plot, ideological themes, birth context, history staging works, biographies of musicians, singers aiming to help performers have a deeper understanding of the work, support learners of singing, performers, instructors, and ease of communication approach, select works suitable to the voice to apply in the learning program and practice on stage performance 3.4.2 About training - Adding works, chapters: aria, arioso, ballade, romance, song with artistic value and complete content to the university curriculum in the 1st and 2nd year and in the university graduation program, it is required to have at least one work, each stage in Vietnamese opera has staged performances The requirements are: When the students graduate from university, they will be able to fluently use Western classical vocal techniques combined with Vietnamese language processing techniques and actor techniques, through the repertoire in the program Vietnamese opera 3.4.3 Some solutions in practicing and performing works 19 In this section, we offer solutions for singers and students to overcome difficulties and limitations from the difference in combining Western singing techniques into the Vietnamese language 3.4.3.1 About the Vietnamese language 3.4.3.2 About Western vocal techniques 3.4.3.3 For learners 3.4.3.4 For teachers 3.4.4 A few notes on practicing and performing works Sub-conclusion Chapter of the thesis presents experimental techniques of soprano in Vietnamese opera After giving opinions on Vietnamese pronunciation for the performance of soprano in Vietnamese operas, the written chapter begins to enter into the initial techniques of pronunciation and performance of Vietnamese lyrics with the relationship between Vietnamese and Vietnamese bel canto engineering system Although it only shows the most common points in Vietnamese expression, this section has pointed out the important features of Vietnamese pronunciation when using the bel canto technique After analyzing the different characteristics of Vietnamese pronunciation when using the bel canto technique, the thesis suggests some samples of vowels in Vietnamese to solve the problem of sound training (Appendix) For professional singers, the suggested exercises, start with speaking exercises, then practice singing in homonyms, then practice on difficult words, practice vocals on ethnic melodies With such careful preparation steps, it will help the singers more convenient and easier when starting the exercises with higher requirements when combining ethnic tones and bel canto techniques to get the sound The sound meets the requirements but still retains the national identity of the Vietnamese language That is what every performer must always strive for and aim for In addition, the content of Chapter also pays special attention to issues: Along with the bel canto technique, singing techniques help the singer apply and solve all the expression requirements of the work, such as: singing with voice, singing with bouncing sounds, singing, singing quickly, singing with nuances, appoggiuatura singing has been used 20 flexibly and diversely by Vietnamese artists in the experimental repertoire of sopranos with very clear purposes: character description, character emotion, shaping for the character Through the analysis, the thesis also offers suggested exercises to implement these techniques in each specific case, each typical repertoire through teaching practice and performance Chapter also introduced a number of soprano repertoires using ethnic musical materials (single, chorus), and introduced techniques of expression based on the academic foundation of bel canto art and the point of view of Vietnamese pronunciation for clear words It is a harmonious combination between the experimental techniques required by the work with the requirements of national tonal expression such as: ethnic melodies, folk songs, traditional singing genres, and pronunciation , breaking tunes in this chapter we also offer solutions for singers and students to overcome difficulties and limitations from the difference in combining Western singing techniques into the Vietnamese language In real performance, each artist has their own views, feelings, and ways of expression However, in terms of science, the contents mentioned in this chapter are summaries inherited from Western experimental art combined with the musical content of Vietnamese operas and based on analytical surveys analysis of people directly involved in the performing and teaching soprano However, each actor also needs to be flexible in applying and learning from Western experimental techniques, processing language aspect in traditional singing, applying to each role, musical situation, and melodies Using singing techniques of Western classical art, expressing the spirit of melodies while still retaining the national identity Thus, it is possible to convey the emotions and content of the work to the listener in a clear, profound, and close way 21 CONCLUSIONS AND RECOMMENDATIONS The thesis demonstrates the problem of studying soprano in Vietnamese opera, approaching from the perspective of analyzing musicology and methodological performance as a contribution from the stage of performer, teacher and researcher hoping to contribute a small part to the achievements of the previous generations in the development of professional vocal art in the country In chapter 1, we explain important concepts about voice, bel canto, Vietnamese singing with bel canto , overview the development history of soprano voice, introduce opera, history of formation and development of Vietnamese opera through stages to serve as a theoretical and practical basis These are the basic contents, serving the study of chapters and In Chapter 2, after researching, surveying and analyzing Vietnamese operas, we have proved that: sopranos occupy an important and dominant position in Vietnamese operas not only due to the number of soprano performances in each play, but also to the musical content shown in the entire work The analysis of musical elements, experimental techniques, musical characteristics through the repertoire in Chapter 2, in addition to determining the role of music, also shows the artistic nature and the investment in creative ideas of the artists author for the roles of this voice We have selected the performances that record the impression of the play in terms of content, roles, and singing techniques, thereby creating an impression for the performer to be able to use independently in teaching performances From the systematic - structural method, the thesis researches and analyzes the relationship between the soprano with other elements in Vietnamese opera works, typically with the orchestra These are the points for the singer to have improve awareness and experience when performing with the orchestra symphony and they are also the experiences drawn for composers From the inheritance of previous studies of the authors Vinh Long, Hoang Kieu, Vo Van Ly, Tran Ngoc Lan combined with research and comparison, we show the difference and diversity (from vowels) in Vietnamese and Western languages, particularly Italian (a typical language used in Western scholastic musical works) We give opinions on Vietnamese pronunciation method when using bel canto technique in soprano repertoire in Vietnamese opera Through the analysis of Western experimental techniques such as: singing in unison, singing with bouncing sounds, singing, singing quickly, singing with loud and small nuances, fluttering suggesting exercises to help female voice high performance solves the technical limitations, the disadvantages often 22 encountered when applying these techniques to the soprano repertoire in Vietnamese opera We also provide practical exercises on pronunciation and vocal training to improve the incompatibility between Vietnamese pronunciation and bel canto technique to help singers and performers clear their doubts difficulties often encountered while still maintaining the national identity of the Vietnamese language In the next content of Chapter 3, we focus on studying soprano repertoires with elements of ethnic music When combining the bel canto technique and the national melody, we suggest exercises on the application of the bel canto technique in harmony with some traditional singing styles such as: cheo, lullaby, recitation, ca tru, a dao with the aim of clarifying the soul and cultural identity of the nation, clearly seeing the nation's characteristics, and contributing to bringing scholastic music to all Vietnamese people gently, easily, and profoundly The research results of the thesis have contributed to the problems of musical knowledge in Vietnamese operas, especially for soprano performances, teaching and performing - soprano in professional music The thesis also contributes to supplementing documents, knowledge, and methods from Vietnamese opera into the undergraduate curriculum at the Faculty of Natural Sciences of training institutions throughout the country The research results will help learners and performers more easily perform soprano repertoires in Vietnamese operas in a creative and appropriate manner while preserving the national identity of the Vietnamese people Hopefully the thesis is also a reference for related topics such as: types of vocals, operas, authors - works contributing to the construction and development of Vietnamese professional experience RECOMMENDATIONS Researching the issues of the music field serving for training and performing is very necessary, it is a long process, requiring many hands to contribute This topic itself is like one of the works that contribute to the problem Hopefully there will be more and more interest in the field of research with more thoughtful and extensive experiments, which can be applied thoroughly in teaching and performing music in general To effectively implement the results of the thesis, we wish to carry out the following activities: - There should be scientific activities on Vietnamese opera like adding Vietnamese opera to the university curriculum in an official way 23 - Prioritize the use of repertoires and passages in Vietnamese opera to practice acting skills - Build a practice room (studio) for students to practice; organize the production of Vietnamese opera, starting with stages, acts, scenes, etc., giving priority to students who carry out university graduation programs - It is necessary to carry out research in the field of singing for lecturers and students of the department - Expanding relationships with music academies, symphony theaters, creating conditions for students to exchange, learn and practice officially - Organizing extracurricular activities at the department for students to listen, read, watch video tapes and practice directly - Building the department's library room with data on audio, images, documents to support research, lecture and study for teachers and learners 24 BIBLIOGRAPHY Do, Nhuan, “Vietnamese pronunciation in some soprano performances in the opera Co Sao.” Art and Culture Magazine No 471, September 2021 “Steps to inherit and develop from national art.” Journal of Theory and Criticism of Literature and Art Vietnamese Opera, August 2021 “Language of lyrics for the soprano role in Vietnamese opera.” Art and Culture Magazine No 470, August 2021 “National identity through vocal repertoire in Vietnamese opera.” Scientific Journal of Saigon University, March 2020 “Material of ethnic music in Vietnamese opera.” Musicology Journal, No 13, 2019 “National identity in current musical art creation.” Scientific Conference of Ho Chi Minh City Music Association, December 2017 “Opera Vietnam - National identity in the genre of scholastic music.” Scientific conference of Vietnam Musicians Association, December 2017 “Clear performance of soprano solo repertoire in Vietnamese operas.” Scientific Journal of Saigon University, August 2017 “For Vietnamese opera to receive and develop, Scientific Journal of Saigon University, September 2016 10 “Vietnamese Opera and Vocal Training.” Presentation at the Ho Chi Minh City Conservatory of Music, July 2016 25 SINCERELY THANKS TO *Professors, Associate Professors, PhDs, authors, scholars, researchers, musicians, lecturers, colleagues have helped and suggested for the thesis * In particular, I would like to express my sincerest gratitude to my scientific supervisor Assoc Dr Le Anh Tuan, who guided and advised me in the process of researching the topic so that today the thesis is completed ... Vietnamese opera 1.4.1 Opera concept………………… 1.4.2 Overview of the formation and development of Vietnamese opera Sub-Conclusion .8 CHAPTER SOPRANO IN VIETNAMESE OPERA. .. in Vietnamese opera is rare and odd Although the number of Vietnamese opera works is not much (8 plays), but the repertoire of solo, duet, trio for all kinds of voices in Vietnamese opera still... Vietnamese opera" to research and conduct a doctoral thesis majoring in English at the Vietnam National Academy of Music Research history Up to now, Vietnamese singing in general and Vietnamese opera