声乐艺术的特殊性在于它是以人体为乐器的演唱艺术，因此具有自身独特的艺术魅力。声乐作品的内容、情感以及风格需要通过优美、丰富的音色这一桥梁去传达给听众，歌唱者与听众的心灵和情感的沟通也需要通过它来实现。音色是使声乐作品富有艺术表现力的一个非常重要的因素，也决定着歌唱者的演唱是否具有感染力。因此，歌唱者要运用科学的方法和技巧，挖掘潜力去获得富有魅力的音色。对于优美音色的获得及音色在歌唱中的运用的研究具有重要的现实意义。国内外的许多歌唱家、声乐教育家写了大量的有关演唱技巧方面的著作并在此方面获得了许多研究成果，使声乐学习者对声乐演唱技巧的认识更加系统、更加科学。然而，在众多的声乐著作中，对于女高音歌唱与音色的关系以及女高音声部中音色的运用问题较少有全面系统的论述。本文的目标是全面系统地研究歌唱艺术与音色在女高音声部中的运用问题，从而使声乐学习者更好地掌握在歌唱中获得动听音色的方法。本文的主要研究内容包括音色在女高音歌唱中的重要作用、在女高音歌唱中影响音色的主要因素和音色在女高音歌唱中运用的技巧这三个方面。 本文第一部分论述了音色在女高音歌唱中的重要作用。音色是歌唱情感表现的重要手段。歌唱的音色可以表现不同的音乐形象，直接影响演唱的效果，是直接引起听众情感共鸣的重要的表现手段。 本文第二部分论述了影响女高音歌唱音色的主要因素。首先阐述了生理因素对于女高音音色的影响。首先，本部分着重论述了声带条件和共鸣腔条件对女高音音色的影响。其次，详细论述了演唱技巧对于女高音音色的影响。演唱技巧主要包括发声技巧、呼吸技巧、共鸣技巧和吐字技巧四个方面，本部分从这四个方面论述了演唱技巧对女高音音色的影响。 本文的最后一部分讲述了女高音歌唱中音色运用的技巧。首先，介绍女高音声部中运用音色的一般技巧，主要包括自身音色条件、作品风格、体裁、情感内容、角色五个方面。然后，举例说明，如何具体地对一首声乐作品进行整体和局部的音色分析，提出了一种在声乐作品演唱中理解和运用音色的基本思路。 本文的研究观点主要是在笔者个人声乐学习的经验和体会、与其他声乐学习者的交流和探讨，以及阅读国内外大量声乐学习资料的基础上总结出来的。歌唱音色是一个广泛而复杂的课题，要将音色运用好还需要在实践中进一步完善，我们需要进行的努力是无止境的。

The specificity of vocal art is that its instrument is human body, so it has its own unique art charm. The contents, emotions and style of vocal works need to transmit to audience by the bridge of graceful and rich timbre, and the communication of spirit and emotion between singers and audience also needs to be achieved by it. The timbre is a very important factor of making vocal works have art expression, and it also decides the singing of singers whether has infectant power. Therefore, singers should use scientific methods and skills, and explore the potential to obtain glamorous tone color. The research which is about the acquisition of attractive timbre and the using of timbre in singing has important real meaning. Many domestic and foreign famous singers and vocal music educators have written a lot of books about singing skills, and have acquired many achievements in this aspect, which have made the understanding of vocal learners about singing skills become more systematic and scientific. However, many vocal works less comprehensively and systematically discuss the relationship between the soprano singing and timbre and the using problem of timbre in soprano voice. The aim of this paper is to research the using problem of singing art and timbre in soprano voice comprehensively and systematically, thereby to make the vocal learners better master the methods of obtaining pleasant timbre in singing. The main researching contents of this paper include three aspects, which are the important functions of timbre in soprano singing, the main factors of influencing timbre in soprano singing, and the using skills of timbre in soprano singing. The first part of this paper has discussed the important functions of timbre in soprano singing. The timbre is an important performance measure of singing emotion. The singing timbre can express different musical images, influence the singing effect directly, and is an important performance measure of directly causing the audience’s emotional response. The second part of this paper has discussed the main factors which influence the timbre in soprano singing. Firstly, this part has emphatically elaborated the influence of conditions of vocal cord and resonant cavity to soprano timbre. Secondly, this part has in detail discussed the affects of singing skills to the soprano timbre. Singing skills mainly include four aspects, which are voice skills, breathing techniques, resonance techniques and articulation skills, and this part has discussed the affects of singing skills to the soprano timbre from these four aspects. The last part of this paper has talked about the using skills of timbre in soprano singing. Firstly, this part has introduced the general skills of using the timbre in the soprano voice, and are main include five aspects, which are singers’ own timbre conditions, the works’ style, genres, emotions, contents and roles. Then this part has taken an example to explain how to analyze a vocal work’s overall and partial timbre, which has offered a kind of basic thinking to understand and use the timbre in singing. The summary of research view of this paper is mainly based on the author’s own experiences of vocal learning, communications and probing with other vocal learners, and reading a lot of domestic foreign materials about vocal learning. The singing timbre is a wide and complicated problem. If we want to use the timbre well, we should also need to further complete in practice, and need to do endless effort.