既然通俗唱法是需要用技能来更好地表现作品，用方法来解决这些技能问题也是公认的，那么现在最关键的问题就落到了用什么样的方法等一系列问题了。正如前面所讲，通俗音乐在我国起步较晚，通俗音乐学院式教育更是近几年的事情。从现有的通俗唱法教学现状来说，声乐技能训练基本上还是停留在传统声乐教学的模式中。其实这个话题对我们大家来说并不陌生了，关于两种唱法的区别，除了大家熟知的在声音位置等的差异以外还特别表现在：传统唱法在颤音方式的“标准化”与通俗唱法在不同风格上颤音的运用的巨大差异；传统唱法吐字要求的“字正腔圆”与流行歌曲在个性上的背离；传统发声与通俗演唱在音色变化上的巨大差异等等。归根结底的原因是对通俗唱法在演唱特点上缺乏了解和认识。
（二）评判歌手演唱能力的标准上的巨大差异
总的来讲，现阶段艺术学院在通俗演唱教学上普遍采用的还是“模仿式”教育。换句话说，就是评判一个歌手演唱的好坏基本上是按照对原唱模仿的程度高低来建立标准的。可想而知，这种标准或概念在教学上所带来的结果完全背离了通俗唱法在风格上的个性化原则。
当然，在学习发声技能之初，给学生推荐一些优秀作品，让他们把学习到的发声技能应用到实际的演唱当中的过程是非常重要的，但是它毕竟是一个初始阶段的学习。重要的是作为一名专业的歌手，是否最终具备独特的音色，是否理解作品含义并用自己独特的方式来诠释，是否在旋律和节奏上将个人的即兴变化与作品所表达的内涵完美统一等非常重要的关于歌手风格问题，如何在平时的教学上真正地体现出来，并让学生真正意识到作为一名优秀的歌手应该具备什么样的能力等。
这次在欧洲参加论坛期间，笔者遇到一个德国流行音乐学院的声乐教师，在谈到个人音乐风格建立的问题时，她用了一句很“通俗”的语言：“选一首你喜欢的歌曲并尝试着把它唱好。不要模仿歌曲的原唱，用你自己的内心感觉去完成它，你甚至连节奏和旋律都不要完全用原唱的方式，用你自己的方式。比如，你对比一下由The Beatles(甲壳虫乐队)和Stevie Ray Vaughn(史提夫·雷·范)演唱的同一首歌曲Taxman(《收税员》)后就清楚了。”（Pick a song you like and try to sing it well.Dont try to imitate other musicians.Develop your own voice by trying to sing a song perhaps not in the same tempo or timing the song was originaly recorded，but make it your own.For instance，look at the beatles version of taxman versus stevie ray vaughn.）
美国的流行音乐发展的时间很长，至今已一百多年的历史了。其中涌现了非常多的优秀经典曲目，以至于被几代的歌手们传唱着。纵览这些被传唱的诸多作品，你会轻而易举地发现，同样一首歌曲却被不同歌手注入了更多的个人化理解，他们不仅用各种风格来演绎，而且在旋律和节奏上添加了更多的变化，更关键的是他们还为这些“古老”的歌曲赋予了强烈的时代感。可想，此时运用一个“标准的”或“机械化的”的模式来衡量这些歌手演唱的好坏是多么地片面。
结语
通俗音乐的学院化教育已把这门新兴艺术纳入教育的正轨，并给这门群众喜闻乐见的“通俗形式”赋予了更多的艺术内涵。既然是艺术，就和其他艺术门类一样需要技能和表现的综合统一。就需要形成一个科学的教学体系。相信不久的未来，我国艺术院校的通俗音乐教育将会在各方面得到更多的完善。
参考文献：
［1］John Potter.Vocal Authority:Singing Style and Ideology.P210.
［2］Rockshool.Vocals for male & female singers’ syllabus guide.P45.
［3］Billy Purnell.The ultimate voice training for singers.P55.
附:英国摇滚音乐学院“声乐等级考试大纲”各级别标准和规定曲目：
Grade 1:at this grade there will be an emphasis on notes，rhythm and intonation.Pieces will generally be within a limited range and only require a basic control of tone.Pieces will be of a length appropriate for the grade and there will be no Requirement for vocal improvisation.The use of a microphone is not mandatory but candidates may use one if they feel it will enhance their performance.
Grade 2:at this grade there will be an emphasis on basic style awareness in the use of tone and solid voice.There will be limited use of head voice.Pieces will be of slightly longer duration with an extended range and the use of intervallic leaps.
Grade 3:at this grade there will be an increasing level of stylistic awareness with employment of suitable technique to a basic level.There will be solid use of chest voice and a limited requirement for solid voice.Pieces will be of a suitable length to demonstrate appropriate technique and concentration with an extended range and occasional use of wide intervals.
Grade 4:pieces at this grade will be of sufficient length to demonstrate developing stylistic awareness which will include appropriate tone production，awareness of rhythmic shifts，dynamics and phrasing.There will be demonstration of secure chest voice and the ability to move to head voice in a reliable manner.Pieces will require some ornamentation and improvisation to the given line to show a musical understanding.Range will be extended and there will be some use of consistent extended intervals.One piece is to be memorised and the microphone used for all performance pieces.
Grade 5:at this grade the candidate will be expected to demonstrate a good understanding of stylistic matters.Pieces will be of a suitable length to reflect this and will be shown by tonal variety，stylistic rhythmic execution，a broader understanding and control of dynamics and phrasing.The candidate will demonstrate both chest and head voice in a secure manner with the ability to cover wide intervals with an even tone.Pieces will have the opportunity for considerable ornamentation and improvisation.Two pieces are to be memorised and the microphone used for all performance pieces.
Grade 6:pieces at this grade will be more complex in construction and content and will require a more solid understanding of stylistic matters.The candidate will require knowledge of suitable tone，delivery and rhythm and be expected to portray the meaning of the song with increasing confidence.The candidate is also expected to demonstrate increasing knowledge of microphone techniques.The candidate will be expected to be able to move effortlessly between registers and to have a wide range of dynamic control and articulation.All pieces are to be memorised and the microphone used throughout the exam.
Grade 7:pieces at this grade will be of a substantial length to enable the candidate to demonstrate a thorough working knowledge of suitable stylistic techniques.The pieces will require considerable personal interpretation，with improvisation and ornamentation used to produce a balanced musical result.The candidate is expected to perform the pieces with a considerable sense of commitment and musical integrity and with a well grounded sense of performance and communication.All pieces are to be memorised and the microphone used throughout the exam.
Grade 8:at this grade the main emphasis is on performance and this is demonstrated in a complete control of suitable stylistic techniques.The candidate is expected to make full use of microphone techniques to enhance their performance and to demonstrate a secure ability in register and tone.Considerable improvisation and ornamentation is expected to produce an advanced and mature sense of performance with a high degree of personal interpretation.All pieces are to be memorised and the microphone used throughout the exam.Use of Microphones.