Relevant bibliographies by topics / Chinese Singers

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Chinese Singers'

Author: Grafiati
Published: 29 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Chinese Singers"

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Zhang, Wen. "Exploring Chinese Vocal Art through the Lens of an Academician: A Guide to Performing Modern Chinese Art Songs." Journal of Singing 79, no. 3 (December 30, 2022): 313–30. http://dx.doi.org/10.53830/xknb2526.

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Chinese scholar and singer Wen Zhang in this article aims to introduce a standard repertoire of modern Chinese art song, analyze musical and linguistic elements of selected songs, and provide performance strategies to guide Western singers who wish appropriately to program music of that unique genre.
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Zhou, Zhanxu, and Woo-Sik Jeong. "Research on the Development Plan of China's Pop Music(C-Pop) Industry through a Comparative Analysis with K-Pop." Korea Industrial Technology Convergence Society 28, no. 1 (March 30, 2023): 91–105. http://dx.doi.org/10.29279/jitr.2023.28.1.91.

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This study considers the development process and status of K-Pop that influenced C-Pop, and presents a plan to develop the Chinese pop music industry which is on a downturn by analyzing the impact of K-Pop on C-Pop. The research subject is the K-Pop and C-Pop industries from the late 1990s to the present; , literature review and individual case analysis methods were adopted for effective analysis. The following plans for the development of the Chinese pop music industry were derived through SWOT analysis. Primarily, marketing strategies using Internet new media such as TikTok should be implemented, a “star-type” new singer training system should be established, and a service model that combines “O2O” online and offline consumption channels should be utilized. Subsequently, new singers should lead musical success through the formation of their own fandom culture with a strategy that goes beyond the existing older generation singers. The study aims to contribute theoretically and practically to the development of Chinese pop music by deriving implications for the Chinese pop music industry and presenting ways to develop Chinese pop music in a slump.
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Qiaoyu, Chen. "ON THE ART OF VOCAL TEACHING BY PROFESSOR JIN TIELIN." Arts education and science 1, no. 3 (2021): 35–40. http://dx.doi.org/10.36871/hon.202103005.

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Jin Tielin is a well-known Chinese singer and teacher who has devoted more than 40 years to the study of singing art, national traditions and the experience of foreign countries. The milestones of Professor Jin Tielin's life and creative activity are briefly recreated, his students are presented and the master's works are characterized. His valuable ideas, experience, and constant search for optimal methods of teaching young singers enriched Chinese vocal art and formed the basis for the singing school founded by him. In this regard, the study of Jin Tielin's vocal training deserves in-depth study, as evidenced by the publications of Chinese musicians on this topic. At the same time, it is necessary to generalize Jin Tielin's methods, theory and practice, his systematic approach to education, the use of Chinese national traditions along with European ones that are widespread. The article introduces Jin Tielin, a singer, teacher, prominent musical and public figure who brought up a great number of famous singers. It emphasizes the importance of his lectures on vocal teaching methods, articles, textbooks and books. Analysing Jin Tielin's training system the author identifies and summarizes some of the most important principles and attitudes of the master. It is stressed that one of the main advantages of his singing school is the synthesis of national traditions and European vocal pedagogy.
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Simonson, Donald. "Recent Research in Singing." Journal of Singing 80, no. 5 (May 2024): 605–6. http://dx.doi.org/10.53830/sing.00051.

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Abstract: This "Recent Research in Singing" article chronicles three academic documents authored during 2023. Ester Bertain's MFA thesis "Overwhelming Prevalence of Music Performance Anxiety in Conservatory Musical Theatre Singers," and dissertations by Matthew Clegg, "A Singer's Guide to Gwyneth Walker's Songs from the High Sierra" and Tingyu Yan, "A Guide to Chinese Art Songs from 1970 to 2010" are covered. Each includes a complete citation and an abstract.
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Zhang, Xi, and Ian Cross. "Singers’ Realizations of Linguistic Tone in Chaozhou Song." Ethnomusicology 68, no. 2 (2024): 247–75. http://dx.doi.org/10.5406/21567417.68.2.06.

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Abstract This article explores singers’ realization of linguistic tones of Chaozhou, a Southern Chinese tone language, in song performance. Analysis of a folk song sung by five singers reveals consistent realization of falling tones with a descending pitch within individual notes. The result suggests that Chaozhou singers may incorporate their spoken language experience into the notes they sing, irrespective of the different routes of learning to sing the song. Additionally, the realization of the phonetic distinctions of the language may also reflect an effort to delineate cultural boundaries and assert a cultural identity of Chaozhou.
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Wang, Jia. "Analysis of the Artistic Expression in The Pop Music Hua Tian Cuo." International Journal of Education and Humanities 12, no. 1 (January 15, 2024): 67–68. http://dx.doi.org/10.54097/wbww9v76.

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100 years ago the school music song was born. Chinese people quoted foreign tunes and added Chinese lyrics to sing them. 100 years later a large number of Chinese singers sang Chinese songs in European and American styles. This paper centers on the study of Wang Leehom's song Hua Tian Cuo, mainly exploring the artistic expression of Chinese style in his song.
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Li, Jianing. "Portraying Oriental Female Roles in Italian Opera: An Asian Perspective." Journal of Education, Humanities and Social Sciences 35 (July 4, 2024): 623–30. http://dx.doi.org/10.54097/45wk0v34.

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More and more Asain faces are emerging on the western opera stage. The focus of this paper is the advantages and challenges of oriental performers on the international stage, taking "Turandot" as an example. Based on the oriental elements in Turandot, the research is conducted through the character Liù, a representative Puccinian oriental female character. The paper analyses how opera singers can better portray their characters on stage, illustrating the advantages that Asain singers have in portraying oriental roles, but also the linguistic challenges. The study compares the vocal characteristics of Italian with those of Chinese, and takes "Signore, ascolta" as an example to illustrate, as a native Chinese speaker, the technical aspects of the Italian lyrics when singing this aria. The paper finds that opera singers need not only the effective characterization but also accurate linguistic proficiency, so that the music can enter the audience's heart and bring them a richer artistic experience.
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Qin, Jiang. "The creative figure of Dilber Yunus in the context of the vocal art of China in the XX–XXI centuries." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 65, no. 65 (December 9, 2022): 199–211. http://dx.doi.org/10.34064/khnum1-65.12.

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Statement of the problem. The processes of globalization are increasingly affecting the existence of human culture, leading to fundamental changes in cultural exchanges in the East-West system. Starting in the XVIII century, a significant number of European composers turned to oriental topics: from the choice of certain subjects and citations of musical material to a new perception of musical art as such. Simultaneously, there was also a reverse process of borrowing the achievements of European culture by representatives of the artistic community of the eastern region, including through the implementation of the Western system of music education. In our opinion, the performing arts deserve special attention here, as they actualize «other people’s texts» and influence composers’ creativity, audience preferences, and, ultimately, changes in public artistic views. For example, China has given rise to a whole galaxy of outstanding masters of «Chinese bel canto, » whose work is proof of the productivity of cultural exchanges and, at the same time, a very interesting material for scientific research. The purpose of this article is– to draw up a creative portrait of Dilber Yunus in the context of the vocal art of China in the XX – XXI centuries. Results and conclusion. The vocal art of China has its origins in folk songs, the specific organization of the musical texture of which is determined by the phonetics of the spoken language. There are 56 nationalities and almost 100 dialects in China, which has led to a wide variety of song palettes. However, this did not prevent the development of a single standard of vocal sound, which crystallized in the phenomenon of the Beijing Opera at the very time when the process of forming the bel canto style in Western European art was completed. For almost a century after that, these two systems existed without intersecting. However, from the end of the XIX century, when the Chinese government relaxed the policy of closed borders, cultural exchanges became possible. From that time on, the process of transformation of Chinese vocal art began, which, among other things, was due to globalization, and therefore the measure of a singer’s professional success is his or her demand for European opera productions. This article will try to make a creative portrait of one of the most famous contemporary Chinese singers, coloratura soprano Dilber Yunus. She was born on October 2, 1958, in the city of Kashgar in western China, in the Xinjiang Uyghur Autonomous Region. Dilber began her career with the Xinjiang Song and Dance Ensemble, created to preserve and popularize the folk art of ethnic minorities. In 1980, the singer entered the vocal department of the Beijing Central Conservatory in the class of the outstanding professor Shen Xiang / 沈湘. In her fourth year of study, Dilber Yunus won one of the most reputable international competitions for young singers, founded in 1984 in honor of Mirjam Helin. This victory determined the singer’s fate, as she fulfilled the dream of many Chinese.
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Kasai, Amane. "Dubbed in patois: Musical mimicry involving the Chinese in wartime Japanese popular songs." East Asian Journal of Popular Culture 10, no. 1 (April 1, 2024): 29–42. http://dx.doi.org/10.1386/eapc_00123_1.

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This article examines the politics of cultural differentiation in wartime Japan, especially from the viewpoint of linguistic imperialism and musical mimicry, by researching official documents, newspapers and magazines, as well as investigating popular songs. Various sources from this period demonstrate that Japanese critics, musicians and musicologists were conscious of the cultural difference between Asian regions, even while the government propagated a unified East Asia. Different actors pursued contradictory objectives of cultural assimilation and dissimilation, reflecting tensions and contradictions in both popular attitudes and official policy. On the other hand, the boundary was distorted in musical practices, as seen in the way different languages were selected and used in the lyrics of wartime popular songs. This article analyses two cases as examples of this phenomenon: (1) popular songs sung by Chinese singers, mostly female, in Japanese patois, and (2) songs by Japanese singers in broken and role language. Even during the Second Sino-Japanese War, Chinese and Japanese singers visited each other’s countries on the pretext of ‘goodwill’ to record songs and participate in shows or radio broadcasts for local audiences.
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Yeh, Catherine Vance. "A Public Love Affair or a Nasty Game? The Chinese Tabloid Newspaper and the Rise of the Opera Singer as Star." European Journal of East Asian Studies 2, no. 1 (March 24, 2003): 13–51. http://dx.doi.org/10.1163/15700615-00201003.

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At the end of the nineteenth and beginning of the twentieth century an unlikely new figure emerged on the Chinese national stage to take its place as the new star: the Peking Opera singer and in particular the dan or female impersonator, hitherto a member of the lowest social caste and generally discriminated against by law and social custom. These singers’ newly gained national reputation had everything to do with Shanghai and its media industry, more precisely with the appearance of the tabloids, the xiaobao, in the 1890s. Within a decade, the opera singer had become the selling point of the entertainment newspapers, and very soon newspapers and magazines specialising only in the Peking opera and its stars made their appearance. Propelled by Shanghai’s technologically advanced print entertainment products with their lithograph illustrations and photographs, the image of the star became a national icon and a central figure in the mass media. This paper focuses on three cases in which dan actor(s) were the focus of discussion and at times the object of fierce debate or attacked in the xiaobao. Although different in nature, these events highlighted the changing social position of the actors and of the forms of patronage. The paper analyses the contradictory moral standards applied by the editors and writers of these xiaobao in dealing with the change in the social status of actors; the intersection between traditional private literati patronage of local opera singers and the very public process in which the newspaper made them national stars; and the star actors’ tenuous relationship to the xiaobao with their potential for mass appeal and defamation.
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Dissertations / Theses on the topic "Chinese Singers"

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Schimmelpenninck, Antoinette Marie. "Chinese folk songs and folk singers : Shan'ge traditions in Southern Jiangsu /." Leiden : Universiteit, 1997. http://catalogue.bnf.fr/ark:/12148/cb36967334t.

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Tse, Wai-lok, and 謝煒珞. "Female singers and the ci poems of the Tang and Song periods=." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38322110.

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Tse, Wai-lok. "Female singers and the ci poems of the Tang and Song periods Ge ji yu Tang Song ci /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38322110.

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Wong, Liu Shueng. "As the bamboo sings." AUT University, 2009. http://hdl.handle.net/10292/944.

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The research question considers the possibility that culture and identity impedes Chinese New Zealanders from writing fiction about their own culture, and considers a Chinese New Zealand history as interpreted from a Chinese perspective. The research looks at various elements related to this question, such as Chinese as strangers or foreigners, the pressure to conform, and the role of communities.
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Su, Wen-hui. "An acoustic study of the singer's formant the comparison between Western classical and traditional Chinese opera singing techniques /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3354922.

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Thesis (Ph.D.)--Indiana University, Dept. of Speech and Hearing, 2009.
Title from PDF t.p. (viewed on Feb. 4, 2010). Source: Dissertation Abstracts International, Volume: 70-04, Section: A, page: 1098. Adviser: Karen Forrest.
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"香港當代粤曲女伶硏究." 林萬儀], 1996. http://library.cuhk.edu.hk/record=b5895688.

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林萬儀.
論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1996.
參考文献 : leaves 116-127.
Lin Wanyi.
目錄 --- p.i
撮要 --- p.iii
Chapter 第1章 --- 導論 --- p.1
Chapter 1.1 --- 「粤曲女伶」的槪念
Chapter 1.2 --- 粤曲女伶的硏究槪況
Chapter 1.3 --- 硏究範圍
Chapter 1.4 --- 考查工作及資料
Chapter 1.5 --- 硏究目的
Chapter 第2章 --- 粤曲女伶的出現及發展 --- p.10
Chapter 2.1 --- 第一階段：出現及初期發展(1862-1923)
Chapter 2.2 --- 第二階段：二、三十年代的發展(1923-1937)
Chapter 2.3 --- 第三階段：戰時的發展(1937-1945)
Chapter 2.4 --- 第四階段：戰後十五年內的發展(1945-1959)
Chapter 2.5 --- 第五階段：六十年代的發展(1960-1969)
Chapter 2.6 --- 第六階段：七十及八十年代前半期的發展(1970-1985)
Chapter 2.7 --- 第七階段：近十年的發展(1986-1996)
Chapter 第3章 --- 香港當代粤曲女伶槪述 --- p.34
Chapter 3.1 --- 人數與活躍程度
Chapter 3.2 --- 年齡與年資
Chapter 3.3 --- 演唱粤曲以外的有關事業
Chapter 3.4 --- 組織及聯繫
Chapter 第4章 --- 女伶的演出場合 --- p.52
Chapter 4.1 --- 歌壇
Chapter 4.2 --- 地檔
Chapter 4.3 --- 會堂
Chapter 4.4 --- 宴會
Chapter 4.5 --- 歌台
Chapter 第5章 --- 女伶的演出 --- p.66
Chapter 5.1 --- 演出的準備及過程
Chapter 5.2 --- 演出所用的曲本
Chapter 5.3 --- 觀眾的參與及影響
Chapter 5.4 --- 演唱與侍奉：女伶的雙重角色
Chapter 第6章 --- 女伶的唱腔風格及流派 --- p.90
Chapter 6.1 --- 唱腔及唱腔流派的含意
Chapter 6.2 --- 粤劇、粤曲的唱腔流派
Chapter 6.3 --- 當代女伶所屬唱腔流派
Chapter 6.4 --- 「女伶腔」的繼承及槪念的演變
Chapter 第7章 --- 結論 --- p.105
Chapter 7.1 --- 總結
Chapter 7.2 --- 粤曲女伶與中國優伶文化
Chapter 7.3 --- 粤曲女伶與中國樂妓文化
Chapter 7.4 --- 女伶現象與香港文化
Chapter 7.5 --- 未來硏究的方向：音樂與性別
參考著作目錄 --- p.116
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Wu, Chiu-Hua, and 吳秋華. "A Singer Identification Method Based on Vowel Correlations for Pop Chinese Song." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/39882279343699782088.

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碩士
中華大學
資訊工程學系碩士在職專班
100
Due to the popularity of digital music on the Internet, many music-related applications need singer identification technology. In this paper, we propose a Gaussian mixture model based on singer identification technology. The singer must be sing in accordance with the pitch marked by music, singing the type of sound is higher than the type of audio speaker. Reduction of Gaussian mixture model training and recognition of complexity, this paper proposes a hierarchical GMM classification scheme, using the three characteristic of the formant, PLP, MFCC feature, considering gender, vowel, pitch and vocal track. Experiments on 10 male and 10 female a cappella singer identification accuracy of about 81%; accompaniment music recognition accuracy of about 70% for commercial CDs. Keywords: Singer identification, Gaussian mixture model, Formant analysis, PLP, MFCC.
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Hung, Shih-hui, and 洪士惠. "Singer of Mountains and Singer himself: A Discussion of the creation of Chinese language by A Lai,a Contemporary Tibetan Writer." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/50292146879168409707.

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博士
國立中央大學
中國文學研究所
97
The Creation of Chinese Language of A Lai阿來, a contemporary Tibetan writer, shows a peculiar aura of the Tibetan culture. Based on the Tibetan historical context, this dissertation manage to reveal how the Tibetan consciousness of A Lai manifests in his works , and being a modern Tibetan intellectual what his culture idea is . Given the fact that Tibet owns its native language and letters, the Tibetan literature that A Lai created with Chinese language seem to encounter suspicion, but when carefully analyzed the omnipresence of the Tibetanization touch in his works offset the limitation of his not being able to use the native Tibetan language. If it can be accepted that the first problem that confronts A Lai is the matter of language, then the religious thoughts in his works are also problematic and arouse the suspicion that whether he is possessed with the Tibetan cultural spirit or not. Analyzing A Lai’s view of religion in the perspective of cultural study of region can show the fact that in the category of the Tibetan Buddhism there exist an additional region character of the Tibetan native Bonism苯教 of Aba阿壩which is in Sichuan 四川 and A Lai’s hometown. Aspiring to be the representative of Tibetan, A Lai succeeds to the role of story-teller and singer of the Tibetan epic and creates the spiritual belief center of Tibetan’s own by narrating the story of Tibetan in written language. Being a modern Tibetan intellectual, A Lai is not just satisfied with conceiving the spiritual tower in literature to resist the incorporation of foreign civilization , moreover in the real life he actively advocates the scientific imagination for the benefit of the future development of Tibetan/ Chinese by means of the editorship of the magazine Science Fiction World. The similarity between the Tibetan literature and Science fiction shows the fact that A Lai, with the double identity of both being a Tibetan writer and a Chinese intellectual, eventually come back to the stance of carrying forward the characteristic Tibetan culture.
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Chuan, Lo Chih, and 羅志權. "The discourse analysis of Chinese popular music: An exploratory study of the female singer“ Jolin Tsai ”." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/64230199920343514385.

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Chim, Sheng-Ming, and 金聖明. "The Analysis of tactics on the badminton men’s singles– an example for the top 16 male athletes of YONEX Open Chinese Taipei 2009." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/02399591916682673817.

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碩士
國立體育大學
運動技術研究所
99
Purpose of Research: analyzed the tactics of badminton men’s single. Subjects of Research: the top 16 male singles of YONEX Open Chinese Taipei 2009. Method of Research: all competition information prepared for analyzing was gathered by videotaping and offering from the organizer. Results were: 1. The Chi-square test of overall tactical type was 231.05., with a distinctive feature of the p < .05. It meant the using numbers of these nine tactical types were different significantly. 2. Two subject’s Chi-square test to analyze the relationship between winning/losing and tactical types revealed distinctive feature of the p < .05. Other fourteen subjects didn’t revealed distinctive feature of the p < .05. The final conclusion suggest that by observing the following nine tactical types, including service with attack, attack after receive, hit to whole court with attack by varied basic skills, attack by changeable speed, downward hit to gain control over net, attack after defending, gain control over the front net, the tactic of drive shots and the tactic of net shots, we could analyze how the players of badminton men’s single to use these tactics and the relationship between winning/losing and tactical types.
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Books on the topic "Chinese Singers"

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Schimmelpenninck, Antoinet. Chinese folk songs and folk singers: Shan'ge traditions in southern Jiangsu. Leiden: CHIME Foundation, 1997.

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Lu, Xuezheng. 天津当代曲艺人物志. Tianjin Shi: Bai hua wen yi chu ban she, 2003.

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Shengquan, Huang, ed. Zhongguo yin yue jia ci dian. Beijing: Ren min chu ban she, 1998.

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author, Jia Pingwa, Men Xiaoyan author, and Laureillard Marie translator, eds. Qin opéra. [Nantes]: Patayo Éditions, 2021.

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Hwang, David Henry. M. Butterfly. New York, N.Y: New American Library, 1988.

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2009, Bao Jing active, ed. Hai shang liu sheng: Shanghai lao ge zong heng tan = Sound ever-lingering at sea : Shanghai old songs : an verview. Shanghai Shi: Shanghai yin yue chu ban she, 2009.

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1939-, Goldblatt Howard, and Lin Sylvia Li-chun, eds. The moon opera. Boston: Houghton Mifflin Harcourt, 2009.

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Nu'erbahan, Kaliliehan. Hasake min jian yan chang yi ren de biao yan yi shu: Yi Hazimu Aliman wei li = The performing art of Kazakh folk singers Khazym Almen an example. Beijing Shi: Zhong yang min zu da xue chu ban she, 2015.

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Bi, Feiyu. The moon opera. Boston: Houghton Mifflin Harcourt, 2009.

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Ren, Lisha Fang. Fang tai tao can shi pu zhi dan shen gui zu =: Lisa Yam's cook book set menu for singles. Xianggang: Ming chuang chu ban she, 1993.

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Book chapters on the topic "Chinese Singers"

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Rizzuto, Giuseppe. "Chinese returnee students and cultural production: the case of ex-students of Opera in Italy." In Studi e saggi, 117–37. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0068-4.11.

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The aim of this chapter is to point out the connection between mobility and cultural activities of Chinese returnee opera students. Many Chinese students in Italy attend cultural and artistic university courses. They may be considered significant in analyzing Chinese reverse migration from Italy. The examined connection involves several dynamics, including artistic aspects, historical reasons, social and economic changes, public policies and consumerism styles. Mobility and cultural production may be analyzed through both a structural and imaginative dimension. The structural dimension is composed of international agreements, global mobility law conditions, social and economic changes, and private investments in education to accumulate cultural capital that produce (or reproduce) certain social structures and experiences. On the other hand, the imaginative dimension is shaped by the lifestyle adopted by middle class families, including their work activities and cultural consumption. Returnee students are both the subjects who promote this process and the object of this dynamic. Chinese singers of Italian opera, upon graduating university in Italy, join the possibilities of the work field—in Bourdieu’s perspective—which is formed by the two aforementioned dimensions. Finally, perceived differences between Italy and China in terms of musical technique and culture are reworked according to contemporary cultural policies.
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Jiang, Linshan. "Queer Vocals and Stardom on Chinese TV." In Queer TV China, 145–60. Hong Kong University Press, 2023. http://dx.doi.org/10.5790/hongkong/9789888805617.003.0008.

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Chapter 7 offers a critical reading of gendered representations of and self-performances by Wu Tsing-Fong from Taiwan and Zhou Shen from mainland China—two Chinese-speaking pop singers—on TV. Both Wu and Zhou possess “androgynous” voices as male singers. Although their appearances and personalities correspond to popular inter-Asian imageries of “soft masculinity,” the author argues that their vocal queerness further destabilizes the mainstream’s assumed univocal masculinity and adds to the diversity of male gender subject positions. Her examination focuses on the two singers’ negotiations with the state and the market based on their queer masculinities within the dissimilar social-political environments and gendered histories of mainland China and Taiwan. She argues that Wu and Zhou continue to seek room for existence between sissyphobia, homophobia, transphobia, and voyeurism on Chinese-language TV. As they gain popularity and find a broad audience in the Chinese-language mainstream media and public spaces, Wu and Zhou not only maintain queer voices and personae but also form affective bonds with audiences to elicit queer sociocultural transformation.
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Muldowney, Dominic. "Songs from the Good Person of Sichuan (1989)." In New Vocal Repertory 2, 13–19. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198790181.003.0004.

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Abstract These songs were written for performance in the context of the play at the National Theatre. Intended for actors, not trained singers, they should prove a great boon to both amateur and professional singer-actors. The composer asks us to bear in mind their original purpose, and one should not forget that these are Chinese characters. The main requirement is to project the drama with persuasive clarity and conviction. A polished vocal technique, with impeccable legato and good breath capacity will not be called upon. It is always refreshing to adapt to different priorities and characteristics, and for trained singers it is challenging to be asked to abandon some of the ingrained habits acquired with care over the years.
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Karpf, Juanita. "Esther and Minorities." In From Biblical Book to Musical Megahit, 169–98. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845740.003.0008.

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Minorities, especially Blacks, Chinese Americans and Asian immigrants, also contributed, substantially, to the richness of Esther’s reception history. Through productions of Esther, minorities engaged in successful fundraising initiatives for their own unique cultural, religious and educational institutions, especially those beyond the purview of whites. Minorities also found, in Esther’s text, unique socio-political messages of hope and resilience that helped sustain them amid the dailiness of racial discrimination. With these performances, persons of color also sought to mediate tensions between whites and various diasporic populations. This chapter evaluates the significance of productions of Esther that took place in minority communities. Among the noteworthy minority productions that are discussed, those of the Fisk Jubilee Singers, the Hampton Singers, and Chinese immigrants are considered. Where possible, photographs accompany this discussion.
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Horlor, Samuel. "The Amateur and the Professional in Wuhan’s Park Pop." In The Oxford Handbook of Music in China and the Chinese Diaspora, 431–51. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190661960.013.26.

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Abstract Singers who present versions of Chinese pop classics at daily shows in the parks of Wuhan make good livings from cash tips offered by supporters in the audience. While this may be reason to think of them as “professional” musicians, they also derive various benefits in their relationships with patrons from insisting on “amateur” status. This chapter considers complexities behind the ideals of the amateur and the professional, revealed not only in the individual economic and ideological circumstances of musicians but also in the constitution of these park performances as wider musical occasions. The shows see a melding of amateur and professional qualities in their organizational ethos and underlying modes of communication and creativity, their spatial and orientational setups, and their integration into a system of overlapping publics. Highlighting this melding serves to challenge certain scholarship on Chinese music inclined to idealize one or other notion.
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Lam, Joseph S. C. "Kunqu." In Kunqu, 30–56. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888754328.003.0003.

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This chapter discusses Chinese idealization of kunqu as a heavenly opera, explains its virtuoso performance practices and materials, and analyzes three scenes from the Palace of Everlasting Life (Changsheng dian) as representative shows of kunqu performance and expressive excellence. Kunqu practitioners cherish the genre for its dramatic telling of Chinese stories and for its actor-singers’ dedicated pursuit of performative excellence. Continuously, they fine-tune their creative skills of writing literary libretti, composing and performing ornate vocal and instrumental music, choreographing visually elegant and kinetically informative shenduan (bodily actions/dances), designing dramatically meaningful make-up and costumes and stage props, and promoting the genre with verifiable facts and promotional claims. A prime example of kunqu expressive and performative excellence is Hong Sheng’s (1645-1704) Palace of Everlasting Life (Changshendian) and its many stage realizations. Since its premiere in 1688, three scenes of the opera have been popularly staged as masterpieces of kunqu performance and expression—all three are comprehensively analyzed in this chapter.
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Beng Huat, Chua. "Placing Singapore in East Asian Pop Culture." In Structure, Audience and Soft Power in East Asian Pop Culture. Hong Kong University Press, 2012. http://dx.doi.org/10.5790/hongkong/9789888139033.003.0005.

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Within Pop Culture China, Singapore with its small and multi-ethnic population is essentially a location of consumption of Chinese languages pop culture. Consequently, Mandarin singers from Singapore have to debut their careers in Taiwan, actors have to seek greater exposure and better prospect in Hong Kong and, while local television stations produce a substantial quantum of television dramas annually, only a trickle of this is exported to Southeast Asian neighbours with less developed media industries. However, with its new found national wealth, the local media industry, with the financial and administrative support of the government, have been seeking co-production opportunities regionally. Unfortunately, the state-financed production company, Raintree Productions, operates entirely on commercial basis in search of profit rather than with an ambition of developing local talents and film industry. Methodologically, as predominantly a consumption location, Singapore is an advantageous location to research audience reception practices and formation of transnational pop culture community.
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Lam, Joseph S. C. "Kunqu Operations." In Kunqu, 110–27. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888754328.003.0006.

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This chapter presents twenty-first-century kunqu not as a national and unified phenomenon but as a conglomerate of regional institutions and competing stakeholders. To mount artistically and commercially successful shows, kunqu practitioners have to operate in yuescapes, namely dynamic times and sites that shape and are shaped by stakeholders’ artistic talents, social-political identities, performance agendas and contexts, and access to nationally and locally available resources. In these yuescapes, such as those found in the cities of Suzhou and Taipei, and in mainland China as a nation, localized kunqu operations would produce unique shows, such as the 1699 Peach Blossom Fan that Shengkun of Nanjing premiered in 2006. Featuring the troupe’s young and handsome actor-singers who don spectacular costumes tailor-made by Nanjing clothing shops, the show tells a love story that took place in Nanjing while Ming China (1368-1644) collapsed. As such, the show makes a revealing manifesto on not only kunqu operations and products, but also Nanjing as a historical and contemporary site of Chinese lives and dreams..
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"Paul Robeson: The People’s Singer (1950)." In Chinese American Voices, 204–8. University of California Press, 2019. http://dx.doi.org/10.1525/9780520938328-036.

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Beus, Yifen. "On Becoming Nora." In Vamping the Stage. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824869861.003.0003.

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Henrik Ibsen’s work Nora in A Doll’s House was a timely and influential inspiration to Chinese writers particularly in advocating gender equality and it offered a role model for many a Chinese woman to ‘walk out’ (of household/family bounds) during an era when China looked to the West to reform its society traditionally governed by Confucian principles. ‘To choose the path of Nora’ was a public statement the female singer Zhou Xuan made in 1941 when she announced her ‘walking out’ of her marriage with the famed composer husband Yan Hua. As China’s pop diva with a ‘golden voice’ in the late 1930s and the 40s, Zhou has been credited by cultural historians and musicologists to have popularized a music trend that fused Western jazz and Chinese folk tunes. Her stardom legitimized her role as a cultured, virtuous and sympathized female singer, a profession and public image that was no longer scrutinized as it had been in the 1920s. Highlighting Zhou’s cross-media performance and her ‘walking out’ as a female public figure in this case study, this paper aims to fill the gap between the readings of music and film experts by examining Zhou’s life and career as a performer.
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Conference papers on the topic "Chinese Singers"

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Yu, Kexin. "How Group Singers Influence Cultural Exportation: South Korean Entertainment Industry vs. Chinese Entertainment Industry." In 2021 International Conference on Public Relations and Social Sciences (ICPRSS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211020.274.

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Wenshuang Feng. "Notice of Retraction: The present situation of Chinese network singers—Analysis based on components of community, artistic style, and social value." In 2010 IEEE 11th International Conference on Computer-Aided Industrial Design & Conceptual Design (CAIDCD 2010). IEEE, 2010. http://dx.doi.org/10.1109/caidcd.2010.5681881.

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Jingyuan, Lu, and Lee Chie Tsang Isaiah. "Explore the Harmony in Chinese Contemporary Choral Art: "CCTV National Young Singer Grand Prix" as an Example." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008764603450350.

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Chen, Fangfang, and Runtong Ma. "Corporate Communication Strategies of Chinese E-Commerce Platforms: A Content Analysis of Tmall's Posts on Social Media During Singles' Day Period." In ICEME 2022: 2022 13th International Conference on E-business, Management and Economics. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3556089.3556094.

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