A DEVELOPMENT OF VOCAL TEACHING MODELS FROM NORTHEAST CHINESE FOLK SONGS INTEGRATED WITH WESTERN VOCAL TRAINING

This study focuses on integrating Northeast Chinese folk song performance techniques with Western vocal training methods, aiming to analyze their integration pathways, develop a blended teaching model suitable for modern vocal instruction, and evaluate its effectiveness. The research employs a mixed-method approach combining literature analysis, expert interviews, classroom observations, IOC content validity assessment, teaching experiments, student pre-and post-test evaluations, and learning feedback. It examines the regional timbre, dialectal articulation, glissando embellishment, rhythmic dynamics, and everyday expression characteristics of Northeast Chinese folk songs, while also analyzing the supportive roles of Western vocal training in breath support, resonance balance, vocal range unity, body coordination, and vocal health. The teaching experiment utilized "Wusuli Boat Song," "Lullaby," and "Watching the Yangko Dance" as primary repertoire pieces, implemented across fifteen sessions over six weeks. The results demonstrate that Northeast Chinese folk song performance techniques and Western vocal training complement each other: the former provides regional style, linguistic characteristics, and folk aesthetics, while the latter offers stable breath control, proper resonance, vocal range transitions, and vocal protection. Based on this research, the CIM-SVS teaching model was developed, comprising six stages: Comprehension, Imitation, Modification and Mastery, Synthesis, Verification, and Stabilization. Experiments showed improvements in pitch and rhythm, breath and vocal range control, Northeastern-style articulation, emotional expression, stage presence, and vocal health. This indicates that the model enhances the stability, scientific rigor, and artistic expressiveness of vocal learning while preserving the cultural identity and performance style of Northeast Chinese folk songs.