Discussion of the fusion of Chinese national vocal method and Italian traditional belcanto

the article identifies features of the fusion of the Chinese national vocal method with the Italian tadiotic belcanto, whose development is inextricably linked to European polyphonic music and opera art. The work describes the characteristics of the belcanto style, which emphasizes the importance of resonance in the vocal apparatus and the unity of the timbre, comparing belcanto with the features of the Chinese vocal tradition, which is deeply rooted in the rich and diverse culture of China’s peoples and local characteristics. The article reveals the need to focus on the immediacy of language expression and transmission of emotions in Chinese music culture, describes the features of differences in technique, Tamil characteristics and cultural component. The author points out that both vocal modes are rapidly integrating, which is particularly evident in some regions due to the interaction of Chinese music education and international trends, as well as the rapid development of China’s national opera over the last few decades. As a result, this article explores the similarities and differences between the Belcanto and the Chinese national school of voice in terms of cultural component, articulation and use of resonator cavities. The complementary advantages of the two vocal techniques and their possibility to merge both in theory and in practice are also analysed. The aim of the study is to provide a theoretical basis and practical recommendations for innovation in the art and its further development.

Belcanto, Chinese National Vocal School, the Italian language, the Chinese language, tradition and innovation, intercultural exchange, complementary advantages