Dissertations / Theses on the topic 'Chinese art song'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 37 dissertations / theses for your research on the topic 'Chinese art song.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Zhang, Tieyi. "The first generation of Chinese art song." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6900.
Full textChoi, Yee-tuen Maria. "Song Huizong (R.1100-1125) and the Imperial Painting Academy Song Huizong yu han lin tu hua yuan /." Click to view the E-thesis via HKUTO, 1999. http://sunzi.lib.hku.hk/hkuto/record/B31951946.
Full textLee, Hui-shu. "The domain of Empress Yang (1162-1233) art, gender and politics at the Southern Song court /." New Haven, Conn. : Yale University, 1994. http://catalog.hathitrust.org/api/volumes/oclc/37238041.html.
Full textHammers, Roslyn Lee. "The production of good government : images of agrarian labor in Southern Song (1127-1279) and Yuan (1272/79-1368) China /." online access from Digital dissertation consortium, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3057957.
Full textSun, Yung-Wei. "A Performance Guide to Mandarin-Chinese Diction and Selected Art Songs by Yiu-Kwong Chung." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339551292.
Full textChoi, Yee-tuen Maria, and 蔡懿端. "Song Huizong (R.1100-1125) and the Imperial Painting Academy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31951946.
Full textBloom, Phillip Emmanual. "Descent of the Deities: The Water-Land Retreat and the Transformation of the Visual Culture of Song-Dynasty (960-1279) Buddhism." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10948.
Full textHistory of Art and Architecture
Hao, Shilun. "IDS---Intelligent Dougong System: A Knowledge-based and Graphical Simulation of Construction Processes of China’s Song-style Dougong System." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1417702752.
Full textSuchan, Thomas. "The eternally flourishing stronghold: an iconographic study of the Buddhist sculpture of the Fowan and related sites at Beishan, Dazu Ca. 892-1155." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054225952.
Full textMaudsley, Catherine Ruth. "Ritual meanings of "water and land" : a study of Buddhist cermonial paintngs [sic] of the Song and Yuan dynasties /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19882166.
Full textChi, Mei-Fung Agnes Kang. "A Performance guide for contemporary Chinese art songs from Taiwan /." Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11974527.
Full textTypescript; issued also on microfilm. Sponsor: Lenore Pogonowski. Dissertation Committee: Harold F. Abeles. Accompanying tape has Recitation of Chinese poems. Includes bibliographical references (leaves 251-257).
Emerson, Whitney. "All of Chinese Literature Condensed: A Sourcebook from the Playwright, Director, and Biggest Fan." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5932.
Full textM.A.
Masters
Theatre
Arts and Humanities
Theatre
Murck, Alfreda. "Poetry and painting in Song China : The subtle art of dissent /." Cambridge (Mass.) ; London : Harvard University Press, 2000. http://catalogue.bnf.fr/ark:/12148/cb37735148n.
Full textPublow, Erin Elizabeth. "Mothers and Sons: A Gender Study of the Modern Chinese Woodcut Movement." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392977093.
Full textTsai, Wei-Shu. ""A Blossoming Tree": A Study and Interpretive Guide to the Songs of Nan-Chang Chien on Selected Poems of Muren Hsi." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157550/.
Full textSchimmelpenninck, Antoinette Marie. "Chinese folk songs and folk singers : Shan'ge traditions in Southern Jiangsu /." Leiden : Universiteit, 1997. http://catalogue.bnf.fr/ark:/12148/cb36967334t.
Full textWelch, Ian. "Alien son : the life and times of Cheok Hong Cheong, (Zhang Zhuoxiong) 1851-1928 /." View thesis entry in Australian Digital Theses Program, 2003. http://thesis.anu.edu.au/public/adt-ANU20051108.111252/index.html.
Full textWelch, Ian, and iwe97581@bigpond net au. "Alien Son : The life and times of Cheok Hong Cheong, (Zhang Zhuoxiong) 1851-1928." The Australian National University. Research School of Pacific and Asian Studies, 2003. http://thesis.anu.edu.au./public/adt-ANU20051108.111252.
Full textWu, Juanyu. "L' image de la Chine et son influence dans l'art des jardins paysagers anglais au XVIII ème siècle en Europe." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0063.
Full textDuring the XVIIth and the XVIIlth centuries, in Europe, China was a fashionable subject. The social orders, from royal families to common people, devoted themselves to "Chinoiseries". Infatuation was universal. Similarly, the rare European passengers who made the long journey towards China, came back with passionate recites, which fascinated the European readers. These recites, as holders of the culture of an imaginary country, renewed European look, particularly in the field of the landscape and the art of gardens. This thesis aims at clarifying a convergence between Arcadian and Chinese sources in landscape garden in the XVIIith century. We try to analyse some descriptions of Chinese gardens in the letters of the European Jesuits during the XVIIth and the XVIIIth centuries, and to display how these ideas were passed on Europe in XVIIIth century, through the creation of a new style: the English landscape garden
Louis, François. "Die Goldschmiede der Tang- und Song-Zeit : archäologische, sozial- und wirtschafsgeschichtliche Materialen zur Goldschmiedekunst Chinas vor 1279." Bern : P. Lang, 1999. http://catalogue.bnf.fr/ark:/12148/cb40112689k.
Full textZhang, Chi. "Sartre en Chine : 1939-1976 : histoire de sa réception et de son influence /." Paris : Éd. le Manuscrit, 2007. http://catalogue.bnf.fr/ark:/12148/cb412424440.
Full textShinonaga, Nobutaka. "La Formation de la banque industrielle de Chine et son écroulement un défi des frères Berthelot /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37618589g.
Full text"Difficulties for Chinese Vocalists in Singing French Art Song." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53790.
Full textDissertation/Thesis
Doctoral Dissertation Music 2019
Huang, Hui-Wan, and 黃惠婉. "A study of Chinese art song by Chang-Fa Yu." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/33429542627107076352.
Full textCHEN, MEI WEN, and 陳玫妏. "A STUDY OF THE ARTIFICAL SKILL OF CHINESE ART SONG "CHASE" AND "RED BEAN SONG"." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/16087267515744560928.
Full text東吳大學
音樂學系
92
The object of the article is to interpret the artificial skill of Chinese Art Song “Chase” and “Red Bean Song”. The scope of the research includes the introduction of the composer, the analysis of the construction of the song and the interpretation of the two songs by bel canto. There are four chapters in the article from the research of the two famous Chinese Art Song “Chase” and “Red Bean Song” to the trend analysis of modern Chinese Art Song .The paper also list the uniformity and difference between China classic vocalism and bel canto . The article also generalizes the acquaintance from bibliography to support the dissertation which accommodate the appreciate and interpretation of Chinese Art Song.
Chang, Qing (Lily). "Performing Chinese contemporary art song: a portfolio of recordings and exegesis." Thesis, 2018. http://hdl.handle.net/2440/114437.
Full textThesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2018.
He, Yanchiuan. "The materiality, style, and culture of calligraphy in the Northern Song Dynasty (960-1127)." Thesis, 2013. https://hdl.handle.net/2144/13138.
Full text"Chen Rong and the Transformation of Nine Dragons." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.15960.
Full textDissertation/Thesis
Ph.D. Art History 2012
Wu, Clair, and 吳萍康. "s through Cheng Ming''s art of performance Written for Chun Chiang Hwa Yueh Yeh(Spring moon,river,flowers and me)-----Wu PingKang Chinese Song Recital." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/48897027149822448324.
Full text中國文化大學
音樂研究所
92
Abstract In the past 100 years, Bel canto and the ethnicstyles of Chinese songs are contradict combination in China. But in present age, the ethnic style songs of Chinese have been expended in material, enrich in expressing artistries, and pour into more morden taste on the traditional foundation. The thesis will discuss the possibility about combining with Bel canto and ethnic styles of Chinese songs through theory and pratice. The model is the vocalist Cheng Ming. I wish the study can solve the problem that most the Taiwan vocalist cant be pronunciation clearly and lack of enthnic styles when they sing the Chinese songs. The other way, expected to break through the bottleneck of stereotyped ethnic styles in Mainland singers. I think that building the ethnic styles of singing is not only get the "singing skill" but also to understand the connotation of the ethnic styles correctly and use the skill flexibly. For many factors, the music surrounding of Taiwan overhead tended to western styles have been a long time. Bel canto is the main trend of special vocal education. It is difficulty but important that Bel canto singer how to sing the Chinese songs well on the the basis of ones voice condition and skill. The first, they must discard the pattern of monotonous vocal skill just sing freely and smoothly, in elaborate pronunciation and tune, interpretate with personal expression creatively. Then Bel canto singer will break through the limit of voical style. Key words: Bel canto、ethnicstyles、Chinese songs
SU, LI-WEI, and 蘇立偉. "The Moral Meaning of Chinese Classical Dance from Kant's Aesthetics: Taking the Dance Department of NIAO SONG Junior High School And Art Experimental High School in Taiwan as an Example." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/q3r6uy.
Full text國立臺灣藝術大學
藝術管理與文化政策研究所
106
The purpose of this study is to explore the impact of the "Chinese Classical Dance" education curriculum on students' "aesthetic" and "moral". And the German philosopher Kant proposed how "beauty is a symbol of morality" in the art education? Therefore, this study is based on Kant's aesthetics and applies some of the basic concepts to explore three issues: I. What is Chinese classical dance? How does its course work? II. How do the aesthetics and morality be connected from the aspect of students of dancing department? III. How do the aesthetics and morality be connected from the aspect of teachers of dancing department? A total of 12 graduates of the senior third grade dance class in NIAO SONG junior high school and art experimental high school as objects of study, the research was conducted through the interview method of semi-structural formula. The findings and conclusions of this study are as the following: I. The teaching objectives of Chinese classical dance can be said to coincide with Kant's aesthetic, "beauty is a symbol of morality." Through the analysis of Kant's aesthetics, we can understand that the internalization of morality can be exhaled from the cultivation of art, that is, "Beauty is a symbol of morality." II. The edification process of Chinese classical dance education can achieve the examination and cultivation of students' morality. For example, when a student is injured during a dance practice, he or she can often surpass the pain of the body with a sense of spiritual sublimity. It is also like when a student dances in a group dance and have been seen at his or her role in a less conspicuous position. It is not just focus on her own personal performance, but also the harmony of teamwork and group performance. III. The dance teacher’s education on the moral cultivation of students is to tell the students that “three minutes on stage and ten years of work on the stage” also implies the importance of the unity of dance and morality, meaning the consistent appearance and attitude of students. The expression will be completely and unreservedly perceived by the audience. Such teaching methods will encourage students to take the initiative to put the moral consciousness into their daily lives, whether they are in the details of life or the interpersonal relationship. Reflect on the revision and gradually achieve the goal of self-discipline.
WAN, WU MEI, and 吳媺婉. "The rhetoric art of Chinese popular songs in Taiwan." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/60711849069741759319.
Full text國立臺北教育大學
語文教育學系碩士班
94
Summary Chinese popular songs are the works that are closest to human life among all the literature forms. What entices the human heart most easily are songs which are audio-art. This article will discuss songs’ literary value and musical nature and make some systematical induction by making use of a characteristic of Chinese popular songs – easy to approach – and of a rhetoric angle. The discussion and induction can be helpful to offer another alternative teaching material in literature and language teaching. The article has six chapters as follows: The first chapter is an introduction, depicting research motivation, purpose and method and research scope and limits. The second chapter is a literature review, briefly talking about history of Chinese popular songs from 1949 to 2000 and also giving an arrangement of current research on Chinese popular songs. The third chapter is about the musical nature of the rhetoric of Chinese popular songs. Three approaches – level and oblique tones, rhymes, and rhythms – will be focused upon here in order to research about musical feeling that Chinese popular songs present. The fourth chapter is about the rhetorical theme of Chinese popular songs. All these songs will be divided into two categories – love and life. Songs’ literal meanings and musical nature will be concentrated on to make discussion. The fifth chapter is an expression of the art of Chinese popular songs. According to types of expressions remarked in Ching-shiuan Huang’s Rhetoric, all collected Chinese popular songs will be categorized into different categories. The sixth chapter involves conclusion and suggestion. The rhetoric art of Chinese popular songs will be induced. Suggestion for further research will be proposed. The rhetoric art that the article introduces in the article is as follows. Firstly, in respect of musical nature of Chinese popular songs, most of lyric lines of Chinese popular songs can have a mutual relation between level and oblique tones, disorder of syllables, and compatibility between rhymes and meanings of lyric lines. For this reason, listeners can feel the basic sense of the feeling that song writers would like to express according to words’ upwards and downwards pitches of sound. Secondly, in respect of theme rhetoric art of Chinese popular songs, whatever kinds of themes, expressions are used, the most often involve overlapped analogy, simile or metaphor, transformation, proposed question, pairing, parallelism, etc. Songs are a kind of art made through time. How songs can impress people needs design for elegant style such as overlapped analogy, pairing, and parallelism. How lyrical lines can appear clear and feeling can be involved with concreteness need metaphor and transformation as well as comparison’s adjustment of expression approaches at the same time. As for doubtfulness about feeling and life, the proposed question is a good way to go. Thirdly, in respect the of expression art of Chinese popular songs, Ching-shiuan Huang’s Rhetoric has thirty types of expressions. Expect analyzed words and hidden lyrics (which can hardly be found in songs) and exclamatory expressions and other twenty-seven types of expressions which can be easily found in Chinese popular songs. Among all these expressions, overlapped analogy, transformation and paring have the most cases; simile or metaphor, proposed question, exaggeration, set-off, parallelism, transition, and hyperbaton have quite a lot cases. Cultivated by popular songs, we not only live in the present moment’s time and space but also exist in the past time and space. Forefathers and modern people can feel the same way. Therefore, good songs can become widespread and be carried out from one generation to another as well as, more importantly, become very significant teaching material to attract young students.
Yeoh, Chien-Yee, and 楊千羽. "The Studies of Malaysian Chinese Art Songs: Analysis of Khaw Guan Liang''s Works." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/03306873025595320262.
Full text國立臺灣大學
音樂學研究所
94
The study of Malaysian Chinese art songs is a fresh topic in musicology. Based on fieldwork and analysis focusing on the work of the prominent Chinese musician Mr. Khaw Guan Liang, this study sets out to summarize the history of Malaysian Chinese music culture, reconstruct his professional music career and analyze the influences behind his style of music composition. Furthermore, we investigate his perception of national identity and ethnicism. This study has accomplished the following. Firstly, it has reconstructed partial history of the Malaysian Chinese Music based on the Malaysian Chinese art songs with a touch of the local multicultural flavor. Secondly, with emphasis on Mr. Khaw Guan Liang, we further explore the development of Malaysian Chinese art songs. In addition, we discuss the ideology behind Khaw’s compositions and his contributions to the Chinese community. Moreover, with the analysis on 1st hand data, we show the variation of activities and programs that have been held by the Penang Philharmonic Society, led by Khaw. Furthermore, this study has exhibited the harmonious blend of Oriental, Western, and South East Asia music elements and characteristics through the analysis on Khaw’s work. Last but not least, based on Clifford Geertz’s theory, this study has investigated Khaw’s stand in defining national identity and ethnicism, which lies within his work.
Yang, De-wei, and 楊德威. "A Study of Chinese Art Songs during the May Fourth Movement: On Zhaoyuanren and Huangzi." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/12501809591700361270.
Full text國立中正大學
中國文學所
94
Literature and music are modes of human emotional expression that have long been inseparable. The form that has become known as ‘Chinese art songs’ first saw day during the era of the May 4th Movement (nationalistic student movement of 1919) and marks a moment of particular significance in the history of the eastward spread of Western learning. The author addresses this art form in its cultural context by returning to the original forms of the music as first written so as to obtain a global appreciation of the form, then, through review of the works of Zhao Yuanren and Huang Zi, representative figures of the era, considers the historical significance of Chinese art songs in understanding the blending of Western and Eastern cultures. This distinctive approach opens a new perspective on studies in this field. The work is in seven parts. Part 1, the Introduction, sets out the purpose, research parameters and methodology of the study, and provides a review of existing literature. Part 2, Definitions, compiles and analyzes art song data from domestic and foreign sources and determines the definitions of ‘art songs’ for the context of this paper, while affirming the pivotal position of Chinese art songs of the May 4th period in modern musical and cultural history. Part 3, The Form Takes Shape, looks at the historical background and creative foundations of the form under the impact of Chinese and Western cultures, with reference to the literary and musical history of China. Part 4, Development, draws on newly-available musical history sources to recount the development of this musical form during the May 4th period, illustrated through the standpoints or theories of selected important musical figures of the time. Part 5, Lyrics and Melody, classifies the types of lyrics and melodies that appeared at the time and discusses their distinguishing features and cultural significance. Part 6, Typology and Representative Works, considers, from a musico-literary perspective, the relationship of lyrics to melody, and how one is matched to the other, then collates and compares, on the basis of the composers’ own approaches, actual works of the period, and discusses whether the goals of these various approaches were indeed attained. Part 7, the Conclusion, proceeds through an analysis of the works of Zhao Yuanren and Huang Zi to define a musico-literary identity for Chinese art songs, and tracks the subsequent positioning and development of the form.
Xin-Rong, Xie, and 謝欣融. "The Probe into the Mezzo-soprano Vocal Interpretation Art of Chinese Songs through Bel Canto." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/41280474861984858023.
Full text中國文化大學
音樂研究所
94
Abstract Through human beings distinguishing the high, middle, and low pitches of the voice, the original voice and hearing of the human beings resonate subtly, In Chinese songs, the well-rounded timbre of the Mezzo-soprano incessantly interacts and resonates with the audience. Meanwhile, the interaction and resonation generate a system under the application of Bel Canto of the western. This is a system of the singer’s realization, appreciating from various theories, form the flexible application, and from the natural singing. The main approach of this paper is how Mezzo-soprano expresses Chinese songs through extracting Bel Canto of the western. Bel Canto is not the only method, but it is still one of the main systems in the field of vocal music. I have contacted abundant Chinese songs from under graduate to graduate student; the fullness in my timbre and my interpretation of songs are confirmed by the professors all the time. Nevertheless, the position of resonation and the application of air stream are drawbacks, needed to be corrected urgently. As a result, it is essential to apply and to practice the theory of Bel Canto. Not discussing the old materials of the theory, I focus my point on the distinctive problem that Mezzo-soprano encounters and the methods of interpretation while performing. These “problems” and “methods of interpretation” are absolutely not a single pattern of thinking because of the various realization of different singers. In Mainland China, the way of presenting folk songs or the so-called ethnicstyles have not been defined clear yet. In Taiwan, the correct way of giving off sound is still the fixed rule of our vocal education. With correct techniques and a well structure, further assisted by abundant experiences of interpretation, we are able to perform the special voice, feeling, and features of Chinese songs as well as possible. At the same time, we can pour much energy into Chinese songs. Key words: Mezzo-soprano、 Bel Canto、Chinese songs、Interpretation Art
游雲惠. "The ivestigative research on the vocal teaching of the Chinese art songs in senior high schools." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/07037812590757032366.
Full text國立臺灣師範大學
音樂研究所
90
The Investigative Research On The Vocal Teaching Of The Chinese Art Songs In Senior High Schools Abstract The purpose of this research falls on the understanding of the situations of the Chinese art songs in vocal music teaching and learning in senior high school. With the methods of questionnaire and song analysis, this research tries to make a study of the significance and values of the Chinese art songs in music education in senior high school and understand viewpoints of senior high teachers and students towards the teaching of Chinese art songs and analyze the authorized Chinese art songs in senior high school. Thus the author expects to offer teachers and educational officials concrete proposals for their reference. This research collects and reorganizes documents, concerning Chinese art songs and its teaching, offered by experts and scholars. The analyses of the Chinese art songs are aimed at the substance of the vocals authorized by the curriculums of senior high school in 1995. The questionnaires with which senior high teachers and students were asked were chosen from public or private senior high schools which included comprehensive senior high schools and combined junior and senior high schools of the central area including Taichung County, Taichung City, Changhua County and Nantou County. The numbers of the objects of the research are sixty senior high music teachers. The rate of recovery is 85%. As for the students, there are seven hundred and fifty eight as the objects. The rate of recovery is 92.21%. There are three dimensions of the research. In the aspect of the teaching material, it reveals that the Chinese art songs in the authorized senior high school music books are the same as those in junior high in large quantities. Secondly, the Chinese art songs in senior high are seldom treated as appreciation material. Moreover, the teachers and the students are at present lowly motivated in learning the Chinese art songs. Furthermore, the Chinese art songs are becoming fewer in senior high music textbooks. And the teachers need the backgrounds of the writers of the songs most. In the aspect of the music teachers, it reveals that the teachers’ educational perspective, musical ability, familiarity with songs and their fondness affect the students’ motivation and effect. In the aspect of educational administration, musical seminars are not well planned or held. In conclusion, there are some suggestions about the three dimensions mentioned above. Chinese art songs should be edited more often in the teaching material of music appreciation concerning the aspect of editing-inspecting system. The editors ought to choose more Chinese art songs which are suitable for students to perform. We should discover and adopt new works more often. Publishers should be in rapport with textbooks to release CDs or VCDs and also invite excellent singers or groups to record sound material with high quality, and take them for teaching demonstration and appreciation. As for music teachers, the ought to improve their concepts and teaching methods continuously. Chinese art song teaching should coordinate with other subjects. The teachers are supposed to establish the list of the songs which fit their own students. In the aspect of educational administration, more contests of creative works of Chinese art songs should be held. Song classification system in high school and primary school and information bank are necessary. Lastly, we should conduct more Chinese art song solo, chorus contests or concerts.
Mei-Huei, Ho, and 何玫慧. "Interpretation of Similarities and Differences between Chinese Traditional Kunqu Opera and Chinese Singing Art Songs "Chun Xiao" and "Chang Xian Zi" as an example." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/76232163082193165029.
Full text國立臺灣藝術大學
中國音樂學系碩士班
100
Kunqu, also known as Kunju, Kun opera or Kunqu Opera, is one of the oldest extant forms of Chinese opera. It evolved from the Kunshan melody, and dominated Chinese theatre from the 16th to the 18th centuries. Kunqu has been 600 years of history. Chinese art songs, and today has developed a unique singing style and characteristics of Chinese culture, Voice, articulation, vocal techniques has reached a considerable level. On the use of the sound is mellower, more penetrating, the articulation is more smoothly. However, on the basis of Western bel canto, we also understood Chinese traditional art songs have a considerable impact to the development of the Chinese opera process. With the foundation of Western bel canto of singing with the unique traditional singing techniques, singing the Chinese art songs is more complete, more mature and more character. With the study on "Chun Xiao" and "Forever Lovers" two melodies, through the collected literature, music analysis etc., used in the Analysis of Chinese opera singing songs, singing of the features. The purpose of this study is to grasp to the interpretation on “Chun Xiao” and “Forever Lovers”, and look forward to continue to improve the performance of music, art, traditions.
Wan, LiLynn. ""Out of Many Kindreds and Tongues": Racial Identity and Rights Activism in Vancouver, 1919-1939." 2011. http://hdl.handle.net/10222/13504.
Full text