Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: Chinese Singers.
Artykuły w czasopismach na temat „Chinese Singers”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych artykułów w czasopismach naukowych na temat „Chinese Singers”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj artykuły w czasopismach z różnych dziedzin i twórz odpowiednie bibliografie.
1
Zhang, Wen. "Exploring Chinese Vocal Art through the Lens of an Academician: A Guide to Performing Modern Chinese Art Songs". Journal of Singing 79, nr 3 (30.12.2022): 313–30. http://dx.doi.org/10.53830/xknb2526.
Pełny tekst źródłaStreszczenie:
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.
2
Zhou, Zhanxu, i 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, nr 1 (30.03.2023): 91–105. http://dx.doi.org/10.29279/jitr.2023.28.1.91.
Pełny tekst źródłaStreszczenie:
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.
3
Qiaoyu, Chen. "ON THE ART OF VOCAL TEACHING BY PROFESSOR JIN TIELIN". Arts education and science 1, nr 3 (2021): 35–40. http://dx.doi.org/10.36871/hon.202103005.
Pełny tekst źródłaStreszczenie:
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.
4
Simonson, Donald. "Recent Research in Singing". Journal of Singing 80, nr 5 (maj 2024): 605–6. http://dx.doi.org/10.53830/sing.00051.
Pełny tekst źródłaStreszczenie:
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.
5
Zhang, Xi, i Ian Cross. "Singers’ Realizations of Linguistic Tone in Chaozhou Song". Ethnomusicology 68, nr 2 (2024): 247–75. http://dx.doi.org/10.5406/21567417.68.2.06.
Pełny tekst źródłaStreszczenie:
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.
6
Wang, Jia. "Analysis of the Artistic Expression in The Pop Music Hua Tian Cuo". International Journal of Education and Humanities 12, nr 1 (15.01.2024): 67–68. http://dx.doi.org/10.54097/wbww9v76.
Pełny tekst źródłaStreszczenie:
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.
7
Li, Jianing. "Portraying Oriental Female Roles in Italian Opera: An Asian Perspective". Journal of Education, Humanities and Social Sciences 35 (4.07.2024): 623–30. http://dx.doi.org/10.54097/45wk0v34.
Pełny tekst źródłaStreszczenie:
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.
8
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, nr 65 (9.12.2022): 199–211. http://dx.doi.org/10.34064/khnum1-65.12.
Pełny tekst źródłaStreszczenie:
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.
9
Kasai, Amane. "Dubbed in patois: Musical mimicry involving the Chinese in wartime Japanese popular songs". East Asian Journal of Popular Culture 10, nr 1 (1.04.2024): 29–42. http://dx.doi.org/10.1386/eapc_00123_1.
Pełny tekst źródłaStreszczenie:
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.
10
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, nr 1 (24.03.2003): 13–51. http://dx.doi.org/10.1163/15700615-00201003.
Pełny tekst źródłaStreszczenie:
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.
11
USOVA, Ganna, i Sai TANG. "CURRENT TRENDS IN IMPROVEMENT VOCAL EDUCATION SYSTEMS OF CHINESE SINGERS". Humanities science current issues 2, nr 63 (2023): 287–93. http://dx.doi.org/10.24919/2308-4863/63-2-47.
Pełny tekst źródła
12
Liuyan, Song, Chow Ow Wei, Li Fan, Sarjit S. Gill i Zhai Linghan. "Virtual Music Idol, the Chinese Leitkultur and the Making of the World’s First Virtual ‘Red Diva’". Asian Social Science 20, nr 2 (26.02.2024): 24. http://dx.doi.org/10.5539/ass.v20n2p24.
Pełny tekst źródłaStreszczenie:
Luo Tianyi is currently the most popular virtual music idol in China, a product of the collective imagination of her fans. She has attracted many fans because of her cute image, her music works, and the space for imagination it brings to people. The development of virtual singers in China is deeply influenced by the Japanese ACGN (anime-comic-game-novel) culture. At first, most of Luo Tianyi's fans were fans of the Japanese virtual singer Hatsune Miku or other anime fandoms with a strong subcultural nature. However, in recent years, Luo Tianyi has gradually attracted the attention of the Chinese official media and gradually shifted from subculture to mainstream culture. As a result, it has not only had a significant impact on the Bilibili Site, the largest interactive Internet platform for teenagers in China but also interacted with the official media, thus becoming an extraordinary music idol.
13
Ло, Юаньвень. "ТВОРЧЕ САМОВИРАЖЕННЯ МАЙБУТНІХ МУЗИЧНО-ПЕДАГОГІЧНИХ ПРАЦІВНИКІВ В СИСТЕМІ ВИЩОЇ ОСВІТИ КНР". Spiritual-intellectual upbringing and teaching of youth in the 21st century, nr 4 (2022): 807–11. http://dx.doi.org/10.34142//2708-4809.siuty.2022.201.
Pełny tekst źródłaStreszczenie:
The article reveals the creative self-expression of music-pedagogical workers as an individual’s ability to publicly reveal their own talents, have supporters and inspire them with beautiful and spiritual things. It is noted that Chinese popular music inspires creativity, development of spiritual values, aesthetic perception of the surrounding world. Examples of stimulation of creative self-expression of Chinese singers due to participation in music competitions of various levels are given
14
Feng, Qingqing. "Comparative Analysis of Sino-US Pop Singer's Influence in the New Media Era". International Journal of Arts and Humanities Studies 3, nr 2 (15.04.2023): 24–30. http://dx.doi.org/10.32996/ijahs.2023.3.2.3.
Pełny tekst źródłaStreszczenie:
Popular music has clearly permeated every aspect of modern society, whether it is through active participation in streaming media or opening music software, or passive acceptance while doing business in coffee shops and retail malls. The United States has long been at the top of the world music market, and its pop music has influenced the trend of contemporary pop music. In recent years, with the continuous development of the music industry, pop music has gradually become an important aspect that demonstrates the cultural soft power of the country and region. The struggle between China and the United States in terms of soft power has been fiercer in light of globalization and rivalry between the two nations. This article will refer to the "Billboard" list of the most influential singles in the United States in recent years and the "Grammy" award, the most authoritative music award, to introduce several influential Chinese singers overseas and representative American singers. Comparing and analyzing the current Chinese and American popular music and comparing their influence is of great significance for grasping the development trend of the times, understanding popular trends, enhancing the soft power of Chinese culture, and using music as a carrier to promote Chinese culture to the world stage.
15
Backer, Jorg, i Antoinet Schimmelpenninck. "Chinese Folk Songs and Folk Singers: Shan'ge Traditions in Southern Jiangsu". Asian Folklore Studies 59, nr 2 (2000): 337. http://dx.doi.org/10.2307/1178930.
Pełny tekst źródła
16
Hui, Yu, i Antoinet Schimmelpenninck. "Chinese Folk Songs and Folk Singers. Shan'ge Tradition in Southern Jiangsu". Yearbook for Traditional Music 31 (1999): 147. http://dx.doi.org/10.2307/767991.
Pełny tekst źródła
17
Stock, Jonathan, i Antoinet Schimmelpenninck. "Chinese Folk Songs and Folk Singers: Shan'ge Traditions in Southern Jiangsu". Asian Music 29, nr 2 (1998): 142. http://dx.doi.org/10.2307/834369.
Pełny tekst źródła
18
Xie, Jin, i Lan Jiang. "A study on the singing method of Chinese composer Zhao Yuanren art song ‘Listening to the Rain’". Korean Society of Music Education Technology 59 (16.04.2024): 199–221. http://dx.doi.org/10.30832/jmes.2024.59.199.
Pełny tekst źródłaStreszczenie:
Zhao Yuanren was a famous Chinese linguist and composer in the early 20th century. While studying the Chinese language, he began to create art songs with Chinese national characteristics, and achieved great results. Not only that, he was also one of the first Chinese composers to use western music creation techniques. Zhao Yuanren used his language research results and music research results. He combined Chinese folk music with Western creative techniques and created a new Chinese art songs. As a result of all these aspects of his achievements. Artists like Xiao Youmei called him Oriental Schubert. This research is based on "Listening to the Rain 听雨" in Zhao Yuanren's early art song. We find that "Listening to the Rain 听雨" is Zhao Yuanren's reading style of Chinese opera poetry. At the same time, on the basis of Chinese folk music, combined with western music creation techniques, the songs of early Chinese artists were born. During the course of this study, I analyzed the overall structure and music of this art song. According to the results of Zhao Yuanren's linguistics research, I also analyzed the pronunciation method of the lyrics. It also analyzes the singing version of the famous Chinese singers. Finally, I suggested how to sing the song. In order to objectify the results of this study, I discussed with three Chinese singers and university professors. The study results are presented as follows. The study results are presented as follows： First, keep your breathing at about 50%. The breath of the voice is not shaken. Make full use of the diaphragm to sing. In this way, singing can keep the same feelings from beginning to end. Second, the song does not have significant mood changes and timbre differences. The rhythm is very steady. The vibration frequency of the sound should be very soft, concise, delicate, just like the feeling of leaves falling in the breeze. Third, in the timbre, the voice can not be heavy, relax to sing. Make the voice feel soft. But the sound should distinguish between bright and dim. Fourth, rather than a strong emotional engagement. More need to have a hazy feeling and missing the feeling. Sing this song with sad feelings. Fifth, this song is an art song created based on the new poems as the lyrics. So sing like a poem.Therefore, we should pay special attention to the tone of Chinese Chinese and the rhythm of reading after singing. And perfect correspond to western music. So be sure to use the rules of pronunciation lyrics invented by Zhao Yuanren. Chinese art songs have now become one of the central genres of Chinese vocal music."Listen to the Rain" is a song of early Chinese artists, and it is the basis of understanding the whole Chinese art song. But now due to the western sound and pronunciation, it can not fully show the beauty of Chinese art songs. I hope that the research results will have a meaningful impact on famous Chinese singers and also on students learning Chinese music.
19
Menwen, Zhang. "METHODOLOGY OF THE RUSSIAN SINGING SCHOOL BY PROFESSOR E. K. KATULSKAYA". Arts education and science 4, nr 37 (2023): 13–19. http://dx.doi.org/10.36871/hon.202304013.
Pełny tekst źródłaStreszczenie:
The article is devoted to the influence of the Russian singing school on the formation of professional skills of one of the outstanding Chinese opera singers of our time — Guo Shuzhen, whose teacher during the years of study in the USSR was the Russian opera and chamber singer, Professor of the Moscow Conservatory Elena Klimentievna Katulskaya. The studied materials of the Personal File of the Chinese singer from the Archive of the Moscow State Tchaikovsky Conservatory contain new information, unknown in China, about the years of her studies at the vocal faculty of the Moscow Conservatory. Especially significant was the conclusion of Professor E. Katulskaya, made at Guo Shuzhen’s admission to the vocal faculty of the Moscow Conservatory in 1953, where she spoke about the beauty of the entrant’s voice and timbre, her musicality, expressive singing and beautiful diction, noting, at the same time, the lack of formality of the upper register. The stages of opera, pedagogical and concert practice of E. K. Katulskaya are briefly covered. When studying the teaching methods of Professor E. K. Katulskaya, special attention is paid to the consideration of technological aspects, such as the correct mastery of singing breath, the work of the larynx, as well as the use of resonators of the vocal apparatus. The main questions of the theory of vocal art are briefly presented, which were reflected in the articles by E. K. Katulskaya “What Is the Support of Sound?” and “Improving Vocal Skills”.
20
Ying, Zhang. "Features of Working on Breathing to Eliminate Tremolation in the Process of Learning to Sing". Musical Art and Education 8, nr 1 (2020): 104–15. http://dx.doi.org/10.31862/2309-1428-2020-8-1-104-115.
Pełny tekst źródłaStreszczenie:
The article deals with the problem of eliminating one of the most common drawbacks in students’ singing – the presence of tremolation in the sound. It is noted that attention to this problem can be traced in the works of both Russian and Chinese scientists. At the same time, one of the ways to solve this problem is to develop proper singing breathing of future singers by introducing vocal exercises into the content of training, which are aimed at consciously controlling the singing apparatus when inhaling and exhaling. Analyzing the researchers’ views on breathing as the basis of singing intonation and their methodological recommendations, attention is drawn to the fact that in the works of Chinese scientists and practitioners, the main emphasis is on the use of special exercises, and the main thing is to develop the correct support for breathing. In the exercises recommended by Russian musicians-teachers, along with the technological component, the students’ attention is focused on the peculiarities of inhaling and exhaling, depending on the musical material being performed. One of the directions of vocal work to eliminate tremolation and even the possibility of its appearance, can be the acquirement of the correct breathing techniques by singers in the process of performing works that involve different ways of science of sounding.
21
de kloet, jeroen. "popular music and youth in urban china: the dakou generation". China Quarterly 183 (wrzesień 2005): 609–26. http://dx.doi.org/10.1017/s030574100500038x.
Pełny tekst źródłaStreszczenie:
the import of illegal, cut cds from the west (dakou cds) in the mid-1990s marked the revitalization of chinese rock culture. this article analyses the rise of dakou culture in the context of the interrelated processes of globalization and marketization of chinese culture. contrary to accounts that proclaim the crisis or death of chinese rock, this article describes the re-emergence of rock since the mid-1990s. it presents an overview on three different scenes, part of the dakou culture among chinese youth. the fashionable bands are inspired by a cosmopolitan aspiration, the underground bands signify the return of the political and the urban folk singers express a nostalgic longing. all three scenes attest to the current diversity of popular music cultures in china, and are interpreted as sonic tactics employed by chinese youth to carve out their own space amidst an increasingly commercialized and globalized society.
22
Peng, Jiawen, i Jiale Wang. "The Impact of Chinese Celebrity Endorsements on Chinese Consumers' Purchasing Intentions". Lecture Notes in Education Psychology and Public Media 32, nr 1 (20.12.2023): 63–68. http://dx.doi.org/10.54254/2753-7048/32/20230646.
Pełny tekst źródłaStreszczenie:
In recent years, with the continuous development of the commodity economy, various industries have begun to use the marketing strategy of celebrity endorsement. Idol worship has existed since ancient times, and the meaning of idols has also changed with the changes of the times. Idols have a positive role in providing people with imitation and spiritual power. Famous film and television actors, singers, and social celebrities have developed celebrity endorsements, covering all aspects of life. Major social media and our daily necessities all have celebrity endorsements and promotional information about celebrity endorsements shown on streets and alleys. In the economic era of brand competition, companies choose celebrity endorsements to create product profits. These are all based on the fact that most people have a specific interest and attention to celebrities and want to learn from and imitate the idols they admire in their hearts. This study starts from the perspective of consumers and studies the impact of celebrity endorsements on consumers' purchasing intentions and attitudes through reading relevant literature and combining it with a questionnaire survey. Consumers will choose whether to purchase the product based on the celebrity's own reputation, and most celebrities will also choose the products they endorse in order to improve their commercial value.
23
Horlor, Samuel. "Neutralizing Temporary Inequities in Moral Status: Chinese Street Singers and the Gift Economy". Asian Music 50, nr 2 (2019): 3–32. http://dx.doi.org/10.1353/amu.2019.0013.
Pełny tekst źródła
24
MA, Yujiao. "THE PLACE OF CHINESE ACADEMIC SINGERS IN THE SOCIO-CULTURAL SPACE OF UKRAINE". Humanities science current issues 2, nr 73 (2024): 157–60. http://dx.doi.org/10.24919/2308-4863/73-2-24.
Pełny tekst źródła
25
Sun, Xun. "Representations of tenor arias from G. Puccini’s operas (“La bohème”, “Tosca” and “Turandot”) by masters of Russian and Chinese vocal schools". PHILHARMONICA. International Music Journal, nr 2 (luty 2024): 1–14. http://dx.doi.org/10.7256/2453-613x.2024.2.70441.
Pełny tekst źródłaStreszczenie:
The article examines the issue of performing interpretations of famous tenor arias from operas by J. Puccini, who are not only firmly established in the repertoire of outstanding singers, but are also an obligatory part of the program of vocal competitions and the educational repertoire of music universities. We analyzed the representation of arias of their operas "Bohemia", "Tosca" and "Turandot") by masters of the Russian (S. Lemeshev, V. Atlantov, P. Melentyev, E. Raikov, M. Mikhailov, V. Galuzin) and Chinese vocal schools (Kang Wang, Yijie Shi, Wei Song, Shi Chu Jang, Deng Chao Hong). This article analyzes performers from different schools and eras, in which the weak and strong sides of interpretations were identified and the features of the part and its performance variants were highlighted by outstanding representatives of the Russian vocal school and young singers from China. The author aims to identify various techniques of the vocal technique of the tenor, using as an example arias from the operas of J. Puccini, as well as the task – to analyze arias performed by outstanding Russian and Chinese artists, paying special attention to interpretation and means of performance, in particular the bel canto technique, using a comparative analysis of interpretations. Masterpieces of world opera are of equal importance for both Russian and Chinese culture, and they are often addressed by directors. The immortal figure of opera mastery for Russia and China is J. Puccini and, in general, the Italian opera school with its unique bel canto style, embodied also in the works of masters Rossini, Verdi, Donizetti. Since Chinese are actively interested in Russian and Italian opera and often perform them, this aspect is seen as relevant in our time, to which many research papers are devoted. In this work, the author aims to identify various techniques of the tenor vocal technique, using as an example arias from the operas of J. Puccini, as well as the task of analyzing arias performed by outstanding Russian and Chinese artists, paying special attention to interpretation and means of performance, in particular the bel canto technique.
26
Wei, Zulong. "The Development and Application of Vocal Music Skills: A Case Study of Chinese Vocal Learners". Highlights in Art and Design 4, nr 3 (1.12.2023): 66–68. http://dx.doi.org/10.54097/hiaad.v4i3.18.
Pełny tekst źródłaStreszczenie:
The purpose of this study is to explore the development and application of vocal music skills. Through Case study of many vocal music learners, we can deeply understand their experience and achievements in learning and practice. Vocal techniques play a crucial role in the field of music, directly affecting singers' expressive power, timbre, and the application of vocal techniques. The goal of this study is to provide useful insights and experiences for vocal learning and teaching by analyzing the individual differences, learning methods, and practical strategies of different vocal learners.
27
Nesterova, Natalia, i Yuliya Sabaeva. "China’s Media Image in the Russian Social Networks Based on Posts and Comments about Chinese Popular Music". Virtual Communication and Social Networks 2023, nr 4 (2.06.2023): 191–96. http://dx.doi.org/10.21603/2782-4799-2023-2-4-191-196.
Pełny tekst źródłaStreszczenie:
The article reconstructs the media image of China based on social network discussions about Chinese pop music. As a new medium, social networks reflect the mutual socio-cultural interest of Russia and China. The author describes the concept of national media image in media linguistics and intercultural communication using China News. EKD, a public page in the VKontakte social network. The methods of media linguistics, cultural linguistics, axiology, and linguistic analysis helped to reveal the main themes in the image of China: musical genres; musicians and singers, their popularity in China and abroad; authors' opinions; commentators' opinions; non-verbal means. The research also revealed linguistic and non-linguistic means that establish Chinese pop music as part of the musical and performing arts. China appears as a country with a well-developed modern musical and performing culture, popular both in China and abroad.
28
Li, Zihao. "PreSoramimiset: Establishing dataset for Chinese misheard lyrics generation". Applied and Computational Engineering 4, nr 1 (14.06.2023): 370–76. http://dx.doi.org/10.54254/2755-2721/4/20230490.
Pełny tekst źródłaStreszczenie:
Mondegreen is a common phenomenon during conversation and is more obvious during listening to songs. To simulate the impression that the audience will have when they hear a particular piece, the Soramiminet model is introduced in this paper. The model is a combination of wave2vec, and transformer used for generating misheard lyrics in Chinese with various input songs. This article will focus more on the establishment of the dataset for wave2vec model. The criteria and several methods of creating a high-quality dataset are summarized and present in this paper. Additionally, the negative impact of a defective dataset and how to avoid it is discussed. The main limitations and biases of this dataset, and how to address them and future work are explored. The dataset includes a set of audio clips from 21 tracks by 9 different singers in AVI form and a text file for annotation which can be processed by python dataset module. The dataset is relatively biased, since all the annotations are done by the author personally. There is no correct labelling, given that the model is generating misheard or wrong results.
29
Wang, Haobo. "Chinese Baritone Singers Wen Kezheng, Li Xinchang, Liao Changyong and Evolution of the National Opera". Университетский научный журнал, nr 64 (2021): 118–24. http://dx.doi.org/10.25807/22225064_2021_64_118.
Pełny tekst źródła
30
Kaidi, Wang. "CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)". Arts education and science 1, nr 2 (2021): 99–106. http://dx.doi.org/10.36871/hon.202102012.
Pełny tekst źródłaStreszczenie:
The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.
31
Gackle, Lynne, i C. Victor Fung. "Bringing the East to the West: A Case Study in Teaching Chinese Choral Music to a Youth Choir in the United States". Bulletin of the Council for Research in Music Education, nr 182 (1.10.2009): 65–78. http://dx.doi.org/10.2307/27861463.
Pełny tekst źródłaStreszczenie:
Abstract The purpose of this case study ws to document and evaluate the process which 35 singers (ages 14 to 18 years) in a youth choir in the United States learned Chinese choral pieces during a fourmonth period. The researchers identified challenges and strategies used, and aided by 43 choral directors in China, evaluated the choir’s performance of these Chinese songs. Observations, interviews, and performance evaluations were the main methodologies used. Sources of data included choir members’, choir directors’, and researchers’ accounts of rehearsals and performances. The data revealed eight major themes. These themes concern the importance of parts to whole, the importance of visual and aural demonstration/feedback, aesthetic enjoyment and application of the challenge, high-achieving student profiles, understanding of lyrics and their cultural context, utilization of community culture bearers, extension to native experts, and cultural submersion providing musical and life insights. We conclude that strategies used were effective and resulted in student gains in four areas: musical, pedagogical, cultural, and attitudinal and personal.
32
Gladney, Dru C. "Representing Nationality in China: Refiguring Majority/Minority Identities". Journal of Asian Studies 53, nr 1 (luty 1994): 92–123. http://dx.doi.org/10.2307/2059528.
Pełny tekst źródłaStreszczenie:
The following statement was made by a private taxi driver as I was on my way into the city from the Beijing Capital Airport shortly before the 1991 Chinese New Year's Spring Festival. It raises many of the issues addressed in this article:I try to stay clear of politics. On New Year's Eve, I'm not going to light fireworks like everyone else, and that's how I'll show that I don't support the government. If I don't set off fireworks, all my neighbors will know that I don't give a damn about this country. I'm just going to sit at home and watch the special New Year's program on TV. They'll have a lot of acrobats, singers, comedians, and minority dances.
33
Gibbs, Levi S. "Going Beyond the Western Pass: Chinese Folk Models of Danger and Abandonment in Songs of Separation". Modern China 47, nr 2 (1.02.2021): 178–207. http://dx.doi.org/10.1177/0097700419860417.
Pełny tekst źródłaStreszczenie:
From the early Qing dynasty (1644–1911) to the beginning of the People’s Republic, men in northern China from drought-prone regions of northwestern Shanxi province and northeastern Shaanxi province would travel beyond the Great Wall to find work in western Inner Mongolia, in a migration known as “going beyond the Western Pass” 走西口. This article analyzes anthologized song lyrics and ethnographic interviews about this migration to explore how songs of separation performed at temple fairs approached danger and abandonment using traditional metaphors and “folk models” similar to those of parents protecting children from life’s hazards and widows and widowers lamenting the loss of loved ones. I argue that these duets between singers embodying the roles of migrant laborers and the women they left behind provided a public language for audiences to reflect upon and contextualize private emotions in a broader social context, offering rhetorical resolutions to ambivalent anxieties.
34
Gibbs, Levi S. "Going Beyond the Western Pass: Chinese Folk Models of Danger and Abandonment in Songs of Separation". Modern China 46, nr 5 (8.09.2019): 490–520. http://dx.doi.org/10.1177/0097700419874888.
Pełny tekst źródłaStreszczenie:
From the early Qing dynasty (1644–1911) to the beginning of the People’s Republic, men in northern China from drought-prone regions of northwestern Shanxi province and northeastern Shaanxi province would travel beyond the Great Wall to find work in western Inner Mongolia, in a migration known as “going beyond the Western Pass” 走西口. This article analyzes anthologized song lyrics and ethnographic interviews about this migration to explore how songs of separation performed at temple fairs approached danger and abandonment using traditional metaphors and “folk models” similar to those of parents protecting children from life’s hazards and widows and widowers lamenting the loss of loved ones. I argue that these duets between singers embodying the roles of migrant laborers and the women they left behind provided a public language for audiences to reflect upon and contextualize private emotions in a broader social context, offering rhetorical resolutions to ambivalent anxieties.
35
Fung, Annabella. "A Chinese Faith-Based Inclusive Choir in the US: Exploring the Shared Journey of Conductors and Singers". International Journal of Religion and Spirituality in Society 7, nr 4 (2017): 17–32. http://dx.doi.org/10.18848/2154-8633/cgp/v07i04/17-32.
Pełny tekst źródła
36
Shuwen, Qu. "Her “vocal authority”: the semiotic and cultural soundscape of Chinese female rock singers’ voices in the late 1990s". Social Semiotics 28, nr 3 (9.03.2017): 349–70. http://dx.doi.org/10.1080/10350330.2017.1300088.
Pełny tekst źródła
37
Xiong, Yahuan. "Soprano as a phenomenon of artistic representation of the human image in European and Chinese traditions". Aspects of Historical Musicology 33, nr 33 (28.12.2023): 86–110. http://dx.doi.org/10.34064/khnum2-33.05.
Pełny tekst źródłaStreszczenie:
Statement of the problem. The study of the singing voice is a “point of reference” for the scientific cognition of vocal art, which is relevant both in the historical and the modern aspects. In particular, it has turned out that its history and status such voice as soprano in modern performance culture is not obvious, even for experts. The specificity of the timbre and pitch range of soprano singers, their demand on the stage remains an actual topic that has not yet been fully covered. Objectives, methods, and novelty of the research. The purpose of the article is to highlight the history of the soprano as a type of singing voice in the aspect of phenomenology of creativity based on the material of a comparative analysis of the national traditions of vocal art in Europe and China. The specificity of the material, which is the singing voice – the natural instrument of the vocalist, is revealed by the comparative-interpretive method (Zhiwei, Zhou, 2012) as a component of the cognitive approach to the study of the singing voice (Shapovalova, 2014), which is considered as an analogue of the image of a person. The choice of methodology is determined by the phenomenological understanding of the role of the singing voice, conditioning of its specificity by pitch range, timbre qualities, which are also related to the stage image. These questions are still not fully covered in theory, and it is they that make up the content of the comparative-interpretive concept dedicated to the female singing voice – the soprano, which is an innovative component of this study. The analysis of recent publications on the topic. The theoretical works of Chinese (Yin Pin, Wu Jing, Zhang Ke, Cui Baoya) and Ukrainian (O. H. Stakhevych, O. D. Shulіar) scientists reveale how Chinese vocal art seeks a balance between European experience and the preservation of national traditions. A certain part of scientific work is devoted to the methods of comprehensive training a singer covers a system of professional knowledge about singing technique, genres and styles of vocal art (W. E. Brown, S. Cotton, L. Manén, E. Giudici, F. Thomas, P. Tosi, Qi Mingwei, Yu Hengyuan, Jiang Huamin, Zhao Shilan & Guo Jianmin). Research results. A comparative-phenomenological approach were used to clarify the issue of what are the cardinal differences in the functioning of female soprano voices in the professional and artistic environment of China and Europe, and whether there are “points of intersection” between carriers of different national traditions of singing in the field of vocal-professional standards. The aspects of the history and modern functioning of the soprano as a phenomenon of vocal art are consistently highlighted: its genotype, technology, typology, repertoire, stage component, national-mental features in the culture of China and Europe. The components of singing technology (breathing, resonators, articulation) were compared; the specificity of the techniques inherent in Chinese coloratura singing was revealed attracting the examples of song repertoire for coloratura soprano: Shan Dei’s songs “July Pastures”, “Festival of Torches”, Hu Tingjiang’s “Spring Ballet”. Certain attention was paid to the typology of the female soprano, its repertoire, stage component. The presentation of the soprano as a carrier of “human image” in culture space is related with the concept of “timbre-role” (Avramenko, 2020; Mityushkin, 2020) based on the accordance between the natural qualities of the voice and the characteristics of opera personage. The phenomenon of "timbre-role" is evaluated as the instrument for creating vocal and stage semantics, as well as the indicator of the type of nervous system of singers, their temperament. Conclusion. Owing to the timbre, range, stage image, the singer performs the function of personifying the image of a human as the embodiment of the aesthetic ideals of the national cultural tradition. The primary difference between the two national traditions of soprano performance is the aesthetics of singing. The type of singing voice is a valuable object that embodies the image of a human, revealing its meaning in the system of national tradition. After having compared the European and Chinese performing arts through the "focus" of the functioning of the soprano (as a type of female singing voice), it can be argued that these are two separate, historically independent "branches" of the world musical theatre. At first glance, the differences between them prevail, although in the conditions of globalization, the vocal and performing style of the East is increasingly moving from centuries-old isolation to active creative interaction with the West. Common for sopranos of both national traditions is the creation of the image of a human in his female hypostasis as the personification of the spiritual beauty The author sees the prospect of further developing the topic in the implementation of the historical-interpretative analysis method as a component of phenomenology of the soprano – the science on the performance interpretation of the spiritual essence of a human and their art.
38
Li, Yang, i Thanaporn Bhengsri. "Fostering Literacy through the Transmission of Chinese Dongbei Dagu Vocal Songs in Xiuyan County, Liaoning Province". International Journal of Education and Literacy Studies 12, nr 1 (27.01.2024): 177–85. http://dx.doi.org/10.7575/aiac.ijels.v.12n.1p.177.
Pełny tekst źródłaStreszczenie:
Chinese Dongbei Dagu vocal songs, a traditional genre hailing from Northeast China’s Dongbei region, possess a rich history spanning over two centuries, distinguished by their unique combination of rhythmic speech-like delivery and melodic elements. The objective of this study is to investigate the fostering of literacy through the transmission of Chinese Dongbei Dagu vocal songs in Xiuyan County, Liaoning Province. The research utilized questionnaires and interviews with six key informants as research tools, including two academic experts, three singers of Dongbei Dagu, and one musical accompanist, who played a pivotal role in providing invaluable insights into various facets of Dongbei Dagu, ranging from its historical significanceto the methods employed for its traditional and modern transmission. Qualitative data analysis revealed the existence of two primary modes of transmission: the time-honored apprentice style and the familial family-style methods within traditional settings. Moreover, it uncovered contemporary transmission modes that ingeniously adapt to folk activities, tea houses, theaters, and specialized training workshops. The research findingsunderscore the paramount importance of cultural databases, governmental support, educational initiatives, innovation, audience expansion, and early education in the continuous preservation and promotion of Dongbei Dagu. Ultimately, this study not only enhances our comprehension of intangible cultural heritage but also offersa pragmatic blueprint for sustaining traditional art forms within the context of contemporary society.
39
Сянкэ, С. "Development of technology for vocal training of Chinese students in Russian music pedagogical universities". Management of Education 13, nr 11-2(71) (30.11.2023): 259–63. http://dx.doi.org/10.25726/p4269-0761-9855-w.
Pełny tekst źródłaStreszczenie:
В статье проанализирован подход в разработке технологии вокального обучения китайских студентов, обучающихся в российском музыкально-педагогическом вузе, разработанного в опоре на мировой опыт обучения вокальному искусству, а также с учетом особенностей культуры, мировоззрения, склада менталитета и самобытных национальных музыкально-художественных ценностях представленного контингента обучающихся. Методологической базой для разработки технологии вокального обучения явились: базовые методы русской (советской, российской) системы вокального обучения; принципы обучения вокалу в западноевропейской и мировой практике; религиозно-философская основа и художественно-эстетические критерии вокального искусства в Китае; современные исследования уровня вокальной и музыкальной подготовки китайской студенческой молодежи, обучающейся в российских и китайских ВУЗах; принципы вокального обучения в традициях национальной китайской школы пения и педагогической деятельности выдающихся китайских оперных певцов; принципы педагогики вокального обучения, представленные в научных исследованиях современных китайских ученых – аспирантов российских ВУЗов. Технологии моделирования психоэмоционального состояния (взаимодействие физиологического и технического аспектов звукообразования). Данная технология базируется на методических подходах В.И. Юшманова и Чжоу Сяоянь, но с учетом особенностей применения восточных энергетических практик (заземление, центрирование, дыхание). The article analyzes the approach to the development of technology for vocal training of Chinese students studying at a Russian music pedagogical university, developed based on global experience in teaching vocal art, as well as taking into account the characteristics of the culture, worldview, mentality and original national musical and artistic values of the represented contingent. students. The methodological basis for the development of vocal training technology was: basic methods of the Russian (Soviet, Russian) system of vocal training; principles of vocal training in Western European and world practice; religious and philosophical basis and artistic and aesthetic criteria of vocal art in China; modern research into the level of vocal and musical training of Chinese students studying at Russian and Chinese universities; principles of vocal training in the traditions of the national Chinese school of singing and the pedagogical activities of outstanding Chinese opera singers; principles of pedagogy of vocal training, presented in the scientific research of modern Chinese scientists - graduate students of Russian universities. Technologies for modeling the psycho-emotional state (interaction of physiological and technical aspects of sound production). This technology is based on the methodological approaches of V.I. Yushmanov and Zhou Xiaoyan, but taking into account the peculiarities of the use of eastern energy practices (grounding, centering, breathing).
40
Zhou, Yi. "Presentation of the Motherland image in the creativity of modern Chinese vocalists". Aspects of Historical Musicology 19, nr 19 (7.02.2020): 285–97. http://dx.doi.org/10.34064/khnum2-19.16.
Pełny tekst źródłaStreszczenie:
Background. The mindset of people who inhabit one or the other country determines the process of formation and fixation of intonational vocabulary, which reflects and in the music culture, including songs. In such a case, phonetic and syntax particular qualities of verbal language intersect with national musical language. The proof of that is a vocal art, whose essential parameters (from intonational scale to the aspects of voice staging) present originality of national worldview. However, in recent decades, the preservation of the uniqueness of the artistic expression of peoples and ethnic groups is under threat. Culture integration increasingly unifies musical thinking of representatives of different countries. The striking instance of this is an art of modern China. Here, vocalists work either based on national traditions of singing, or developing the achievements of leading European schools. Moreover, choice, made once, determines a singer’s creative fate – his technique and repertoire. As a result, there is a gradual transformation of the entire system of musical culture in China, a rethinking of the basic intonation complexes, including those that embody the national image of the world. These facts define the purpose of given research – uncovering specificity of Motherland image presentation in modern China vocalists’ interpretation. The methodology of the research is determined by its objective, it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. Themes related to Motherland image are an integral part of China musical art. In folk art, these are songs that sing about China, about people living in this country, about love for the Motherland. Authors often recourse to allegories using synonymic emblematic row: dragon, red color, Yin and Yan signs, Beijing opera. These kinds of songs are gradually beginning to be accepted as the symbol of the country, where they were created. Exactly this way happened with one of the most famous in the world Chinese folksong «Jasmine Flower», which words for the first time were written down in the time of Ming dynasty. The version of «Jasmine Flower», which nowadays is the most times performed, is credited with composer He Fang. He Fang made some changes both in lyrics and in verbal text of the folksong. One of the greatest interpreters of «Jasmine Flower» is Song Zuying singing in the folk manner. It is revealing that song «Jasmine Flower» at her concert sounds exactly like a symbol of China, what characterize a lot of performing interpretation aspects. The song is construed by the singer not as a lyrical utterance, but as an “aria di sortita”. One more variant of Song Zuying’s «Jasmine Flower» interpretation was performed to the public together with Celine Dion at the «Spring Festival» in China (2013). According to the director design, the singers performing one song together appear as the embodiment of the images of their peoples that is reflected in the visual row. On deeper layers of understanding, this performance shows musical thinking specificity of representatives of different cultures. Consequently, ancient Chinese song «Jasmine Flower» appears in modern art as open text, which transformation process, obviously, will continue. One more composition, which became the symbol of China, is the song «Me and my Motherland» composed in 1985 by Qin Youngcheng (on Zhang Li lyrics). In our thinking, the song «Me and my Motherland» is illustrative of intonational transformation of music characterizing the Motherland image in the China art. Written in the last third of the twentieth century, the song is a vivid example of the refraction of European musical traditions, there is continuity with ideologically biased, but artistically distinctive and highly professional the Soviet pop. In this song, a person appears as a part of more important wholeness: nature, nation, a family. It is felt also in Liao Changyong’s performing version. His interpretation is characterized by happy combination of Chinese and West European traditions; bel canto singing and musical texture of song smooth out those Chinese language phonetic properties that usually demonstrate national arts specificity. Conclusions. Songs, presenting the image of China, are an integral part in Chinese vocalists’ work. These compositions inspired by love for their native land withstood the test of time, spread in sing repertoire and reflect that huge way that Chinese vocal school has passed over the past hundred years. Today, both the national tradition and the stylistics borrowed from a number of European countries organically coexist there. The demand for such compositions in concert world space testifies to the action of a centripetal force aimed at preserving national identity in conditions of cultural globalization.
41
Boldyrev, Volodymir. "A folk song in the repertory of a vocalist as the way of forming multicultural performing traditions". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, nr 50 (3.10.2018): 181–92. http://dx.doi.org/10.34064/khnum1-50.13.
Pełny tekst źródłaStreszczenie:
Background. The article is devoted to the scientific-methodical analysis of the phenomenon of a folk songs assimilation into the multicultural vocal tradition. A folk song is presented in the aspect of national self-consciousness and plurality of modern performing traditions in the conditions of multi-stylistic cultural attitude. The relevance of the topic is the theoretical comprehension of the role of a folk song and singing in multicultural context. The purpose of the research is a comprehension of the phenomenon of the folk songs assimilation in multicultural vocal traditions under the new wave of interest in national dimension of “West – East” and necessity of quality vocal education of rising Chinese students-vocalists. The article based on the studies of materials of curriculums, methodical elaborations and manuals developed in the department of solo singing at Kharkiv National I. P. Kotlyarevsky University of Arts. Research results. Modern multicultural performing traditions in conditions of expanding geography of creative experience exchange needs in new philosophical and scientific-methodical comprehension. Based on variety international cultural programs there are traineeship groups, exchange of students and teachers, presentations of common creative projects. The modern cultural background of Ukraine is enriched with unique concerts of Chinese students performing not only classical repertoire, but Chinese folk songs as well. Methodical comprehension of stylistic layers and ways of formation of multicultural traditions occurs according to the methods of comparison of general intonations in folk songs. Vocal methodic of sound extractions is founded on general grounds, regardless of national specificity, however, the comparison and plurality make the process of performing reproduction of vocal styles more accessible for comprehension by students. The issues of national certainty and vocal-technical skills, interpretative experience in the concert forms and singing genres are considered in the research. The innovative aspect of the topic disclosure is the involvement of Chinese folk songs and pieces by Chinese composers in interaction with pieces by Italian and Ukrainian composers in the repertory of the learning vocalists. The practical task is to reveal the multi-national potential of musical mindset of contemporary singers in the context of the steady tendency to the mental-stylistic plurality in the art of the 21st century. It is proved that the vocal-technical learning of general world experience occurs through the recognition of the plurality of stylistic features of folk songs. The folk song is the “cornerstone” of the performing tradition, the basis of the vocal repertoire of any national school. It is included in a composition of compulsory pieces for participation in national and international vocal competitions. Thanks to the folk song what is the carrier of the ancient information and performing features included by previous singer generations, a deep connection of the artist with folk-song traditions occurs. The category “folk singing” is a coherent entity that contains the minimum set of information what includes distinctive harmonic figures, instrumentation, texture, acoustic features of rendition. The traditional Chinese song, based on pentatonic scale, becomes an illustration of the national “general intonation”. "Sense" of an entire tone for the formation of the purity of vocal intonation assumes an exclusive meaning. The success in acquisition of pentatonic melodies is provided due to similarity of intonation sets what are typical for musical cultures of different nations over the world. The folk song in the repertoire of the learning vocalist is a reflection of the multicultural traditions in the conditions of the domination of academic vocal culture. The study of the melodics of the song and its harmony and form peculiarities contributes to the adaptation of the singer’s mindset to the alternative mental principles of vocal art and to the universalism of mindset in the forming of professional academic performing. The Chinese folk song, the Ukrainian duma, East mugham singing and other similar reflect the spiritual world of folk reproducing historical antiquity. Therefore, the folk song as an integral part of the modern repertoire in vast enriches the intonation, spiritually-aesthetic and cultural fund of a vocalist. The conclusions summarize the complexity of the problem, the components of which are the adapting of mindset to the alternative mental bases of vocal art and rising of universalism in conditions of multi-stylistic plurality. The bases of formation of multicultural traditions are generalized: the comparison of stylistic layers; exploring the general world experience through the national certainty (basic vocal repertoire as a synthesis of stylistic plurality); vocal-technical equipment, the comparison of melodic, harmonic and tempo-rhythmic principles of differrent folk songs; rendition of the folk song in the original language. All of these bases reveal the content of the movement to the formation of multicultural performing traditions in order to advance of the professional academic background.
42
Li, Qiang, Suang Xia i Fei Zhao. "A Study of Language in Functional Cortex of Audiphone Deaf Signers Used FMRI". Advanced Materials Research 204-210 (luty 2011): 5–10. http://dx.doi.org/10.4028/www.scientific.net/amr.204-210.5.
Pełny tekst źródłaStreszczenie:
Using functional magnetic resonance imaging (fMRI), to observe the changes of cerebral functional cortex in prelingual deaf singers for Chinese sign language(CSL). Results：During observing and imitating CSL, the activated areas in all groups include bilateral middle frontal gyrus, middle temporal gyrus, superior parietal lobule, cuneate lobe, fusiform gyrus and lingual gurus. The activation of bilateral inferior frontal gyrus were found in groupⅠ, Ⅲ and Ⅳ, but no activation in groupⅡ. The activation of bilateral superior temporal gyrus and inferior parietal lobule were found in groupⅠand Ⅲ, but no activation in others. The volumes of bilateral inferior frontal gyrus in groupⅠwere greater than those in group Ⅲ and Ⅳ. The volumes of bilateral superior temporal gyrus in groupⅠwere greater than those in group Ⅲ. Conclusion：The cortex in PDS had occurred reorganization, after losing their auditory and learning the CSL. The activation of linguistic cortex can be found during oberserving and imitating CSL in PDS. The secondary auditory cortex and association area turn to take part in processing visual language when no auditory afference, whereas the primary auditory cortex do not participate the reorganization. Additionally, the visual cortex of PDS is more sensitive than that of normal heaing individuals.
43
Rickards, Guy. "Music by women composers". Tempo 59, nr 234 (21.09.2005): 66–72. http://dx.doi.org/10.1017/s0040298205300325.
Pełny tekst źródłaStreszczenie:
HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.
44
Li, Qiang. "Peculiarities of the mutual influence of Italian and Chinese musical theater tradition in historical development". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, nr 67 (22.10.2023): 56–77. http://dx.doi.org/10.34064/khnum1-67.04.
Pełny tekst źródłaStreszczenie:
Statement of the problem. Modern opera performance art in China is closely related to the national theater tradition, which has a thousand-year history. Despite the fact that Italian (and generally European) musical and dramatic art has been known in China for more than a few century, the public did not perceive it for a long time due to significant differences in many aspects: from stage dramaturgy, vocal roles to behavioral norms in the theater institutions. This study draws historical parallels between Italian opera and national Chinese music-theatre art and examines attempts to adapt Italian vocal art to Chinese. Objectives, methods, novelty of the research. In this investigation, we tried to find common and distinctive features in Italian and Chinese musical theater by comparison, as well as to identify the factors that influence the perception of the theater work by the Chinese public. The scientific novelty of the study lies in the fact that for the first time the path taken to adapt Italian vocal art to the Chinese language, the national musical theater and its audience is analyzed, and the role of tradition in this process. The main research method is comparative, with the help of which the common and distinctive features of Chinese and Italian musical theater are revealed; methods of historical musicology and cultural studies were also used. Research results. The development of Italian and Chinese musical theater in certain historical periods took place in parallel, so they have a number of similar typological features. Both Chinese and Italian theaters synthesize different types of art: singing, ballet, visual series (decoration, costumes), dramatic action. At the same time, they are fundamentally different manifestations of theatrical art. In Chinese opera, the visual component is of great importance – costumes, make-up, decor, etc., and the content and plot vicissitudes are deliberately simplified so that the audience is not distracted, but can enjoy the spectacle. The difference of Chinese opera is circus art: the actors had to have acrobatic and fighting skills and impress the audience with them. In Italian opera at the stage of its formation, the visual series was given great importance, but due to the fact that the authors of the first opera models (Florentines) considered as a model the Greek drama with its idea of moral improvement through catharsis, its dramaturgy is radically different from that of the Chinese theater; therefore, tragedies and dramas were not perceived by the Chinese audience who went to the theater to be entertained and enjoy the skill of the actors. For quite a long period after the penetration of European culture, the Chinese public did not perceive works of Western art, treated them as exotic and often did not understand their essence, aesthetics and value in general. The main obstacle was usually the language, but also the content of the theatrical works of European playwrights, translated into Chinese, did not find a response in the audience, despite the rather significant commonality in plots, themes, and issues. The public did not understand complex ideas that were accompanied by dramatic events or had a tragic ending. Conclusion. Italian and Chinese opera have many common features, but differ in their basis, and the Chinese audience did not perceive Western art for so long because of the fundamental difference in the approach to the visual and content aspects. The originality of Chinese theater drama consists in maximum visualization, which distinguishes it from European drama, in which the content is the basis of the work. The formation of modern opera performing art in China took place in the middle of the 20th century, and this process has a distinctive feature: modern national opera in European traditions was created in order to interest the Chinese public, to draw their attention to the new art. The first example of such an opera (yangban xi) – “The White-Haired Girl “(1945), created by the team of authors of the Academy of Fine Arts named after Lu Xin, became popular among the Chinese, which confirmed the correctness of the creative approach that combined European forms and Chinese performance traditions. In addition, the work was adapted for plastic (ballet), screen and traditional theater (xìqǔ) arts. The appearance of such productions contributed to the fact that the public gradually got used to European opera, and today Chinese opera art is widely represented on the national and world stages. In the years since the appearance of the first Western-style national opera, Chinese singers have mastered various classical vocal styles: Italian bel canto, traditional Chinese singing, Chinese bel canto, and now represent their own national vocal school on world stages.
45
Xiong, Yahuan. "The poetics of Borys Lyatoshynsky’s solo singing in terms of timbre personification of the singing voice". Aspects of Historical Musicology 29, nr 29 (29.12.2022): 12–142. http://dx.doi.org/10.34064/khnum2-29.07.
Pełny tekst źródłaStreszczenie:
The substantiation of the topic. In performing creativity, there is a wellknown problem of the repertoire selection in terms of correspondence of the type of the singing voice to the author’s idea of a vocal composition. The relevance of the topic of the research of Ukrainian chamber and vocal lyrics for Chinese singers lies in the search for intellectual mechanisms of co-creativity with the European «compositional stock». For the author the «key» to understanding is the concept of a symbol, present in Chinese poetry and the leading one in the musical thinking of B. Lyatoshynsky. The absence of the latest sources on compositional and performance poetics and, in particular, the role of the singing voice, with the presence of the latest musical notes editions (editor I. Savchuk, 2013) stipulates the focus of the researcher’s attention on the figure of the Ukrainian artist as an urgent task of musicology of the 20th century. The purpose of the research is to reveal the role of the timbre personification of the singing voice in the system of compositional poetics of B. Lyatoshynsky’s solo singing. The material of the research: the chosen solo songs by B. Lyatoshynsky for the female voice: to the poetry of Taras Shevchenko («There are brown eyes», 1927), of Ivan Franko «Why don’t you ever laugh?» op. 31), and of Maksym Rylsky («Lullaby» op. 39). Research methods. Among the interpretative approaches to the analysis of vocal compositions there is: the semantic one, which interprets poetic meanings and their musical embodiment in the unity of a symbolic form of thinking; genre-stylistic – determines the specificity of the interpretation of a certain typical model of the genre in the context of the composer’s style; structural-functional – reveals the hierarchical organization of the composition in the unity of theme of the vocal and instrumental parts, poetry and the logic of the composition. Analysis of recent publications on the topic. The subject studies such as the general characteristics of the genre of solo singing in the creative work of B. Lyatoshynsky were revealed (V. Samohvalov, 1974; T. Bulat, 1992; B. Filts, 1915). The role of the founder of the new Ukrainian compositional school is clearly outlined in the works of O. Kozarenko. The dissertations of Wang Xi (Lviv, 2013) and Wang Zuo (Kharkiv, 2015) contain a semiotic analysis of the composer’s solo songs. Interpretology, which is related to the methodology of the analysis of the timbre personification of the singing voice, is presented in the works of L. Shapovalova, Y. Nikolaievska and O. Aleksandrova. The presentation of the main material. The entry of foreign-language singers into the «semantic field» of concert-chamber music (as a rule, of a lyrical direction) revealed the problem of symbolizing the parameters of the musical language, which is aimed at an adequate embodiment of the poetic original source. The timbre potential of the lyrical hero (age, gender, social status, as in general and for the opera character-role) is laid down in the symbolism of the poetic text, but hisher timbre personification in the musical composition, as evidenced by the concert practice of the last half century, can vary. The composer’s intentions always include the choice of timbre (at least the instructions and voice type). However, none of the specialists who studied the problem of music and speech (including on the basis of the theory of the symbol) connected the unfolding of the meaning of the vocal composition as a symbolic form directly with the timbre of the singing voice. Interpretology focuses on the function of the singer through timbre personification to represent the lyrical hero in the integrity of his/her being: in the mirror of the author’s spiritual reflection (on the one hand), and in the conditions of modern communication with the listener (on the other hand). Ukrainian composers, being excellent pianists (M. Lysenko, Y. Stepovy, V. Kosenko, N. Nyzhankivsky, B. Lyatoshynsky) understood well the nature of the vocal language, which must be «decorated» with full-fledged piano thematism (often of a virtuoso nature), which becomes not just an accompaniment for the singer, but also an expressive dramaturgical lever for revealing poetic symbolism in musical and intonation projection. Owing to this, the pretended, at first sight, simplicity of the genre of solo singing is revealed in the multifaceted consonance of vocal-poetic and instrumental sounding. In this process, composers pay great attention to co-creativity with vocalists, and at the first stage of realizing their idea, to choosing a timbre that represents the «portrait» of the lyrical hero. The solo song «There are brown eyes» (a poem by T. Shevchenko) contains all the elements of B. Lyatoshynsky’s style, which will develop and be consolidated as a linguistic and stylistic sign system in subsequent compositions. The image of a woman is illuminated by the love of a man. The contrast is the lyrics of the solo song «Why don’t you ever laugh?» to I. Franko’s poetry – this is an image of love which remains without answer. In the «Lullaby» op. 39 (to the words of M. Rylsky) the spiritually exalted image of the Mother is voiced as a symbol of the national archetype of God’s love. The generalization of the vocal melos in other «female» solo songs by B. Lyatoshynsky to the poetry of I. Franko testified to the presence of a chant-declamation synthesis: on the one hand, movements of thirds, movement plasticity due to gradualness, undulation; on the other – systemic features of recitation (absence of chants, jumps to fourths, fifths, which are perceived as a sign of activity, the tension of an ascending movement followed by a fall). Conclusions. The vocal music of the 20th century is the most sensitive «barometer» of thoughts, moods, psychological aura of society through the prism of author’s creativity (of a poet and a composer) as a spiritual reflection. At the same time, singing timbre is a unique tool for representing poetic symbols and concepts in chamber and vocal music; it does not lend itself to «artistic translation»; it cannot be transposed, like a melody, find analogues, replace. Any such modification with timbre leads to the loss of the «internal form» of the composition as an artistic whole. The timbre of the singer’s voice in the process of interpreting the composition becomes a tool for «portraying» the spiritual essence of music, its symbol. The role of a high-pitched female voice in B. Lyatoshynsky’s solo singing consists in the timbre personification of the heroine: from the gradual «unfolding» of a musical-poetic symbol to its «folding» in an integral portrait (the representation of a lyrical sound image). In other words, the timbre is the «folded symbol» of the lyrical hero, his/her «sound body». If in romances based on poems by Chinese poets, op. 17, it concerned musical sound writing (sound imitation of the sounds of nature, birdsong), then in solo singing to the texts of Ukrainian poets, the national analogue of musical romanticism was reproduced: the theme of tragic love (Margarita from «Faust» by J. V. Goethe). Another example of a spiritually exalted symbol of a woman-Mother («Lullaby»). The singer’s mission is to absorbfigurative and symbolic meanings «into herself» and to represent her «heroine» in intonation and timbre personification. The perspective of further development of the topic. On the basis of a large body of compositions, it is planned to compile a typology of female images in Ukrainian chamber lyrics of the 20th century. The anthology of the genre of solo singing will include compositions by V. Kosenko, B. Lyatoshynsky, P. Haydamaka, Y. Meitus, I. Shamo, A. Kos-Anatolsky, V. Bibik and V. Ptushkin for the female and male voices. Their analysis will reveal the gender component of modern performance, embedded genetically in lyrical vocal compositions.
46
Zhou, Yi. "Verbal aspects of China’s vocal art system". Aspects of Historical Musicology 21, nr 21 (10.03.2020): 137–49. http://dx.doi.org/10.34064/khnum2-21.09.
Pełny tekst źródłaStreszczenie:
Background. Art criticism, as part of the humanities, has long and productively used the terminology of related sciences. This is a systemic approach, the provisions of which significantly influenced the development of scientific thought in the XX–XXI centuries. Systematization and modeling greatly simplify the process of cognition and allow to highlight the parameters that determine the identity and ability to transform of each individual system. The same approach can be applied to the study of particular components of the meta-system of human culture. From this point of view, we will analyze the vocal culture of modern China as a whole, formed by the interaction of national and international cultural patterns – primarily by verbal and musical languages. The research methodology is determined by its objectives; it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. In the system of artistic creativity, vocal art occupies a unique place because it is a product of the synthesis of music and words, sensual and rational, imaginative and conceptual. It is language that determines the identity of national schools of composition and performance. Chinese has an unprecedentedly long history of development – from the second millennium BC. All this time the national vocal culture of the country functioned as a system that included the following elements: – a body of philosophical works, the authors of which tried to determine the function of musical art (and, in particular, singing) in the development process of the state; – treatises, aimed at the comprehension of the art of singing as a separate area of human creativity and as a type of energy practice; – creative work of outstanding singers and epistolary testimonies about it; – the full scope of musical artifacts – folk, author’s songs, works of various vocal genres; – identifying areas of vocal performing, which for a long time had two basic locations – court and domestic; – specialists’ training system and concert establishments. Obviously, all these elements had to be united by something. Let’s point out two essential factors: mentality and language. It is known that the ethnic composition of the people who lived in ancient times in the territories of modern China was heterogeneous and only in the middle of the first millennium BC a single Chinese nation was formed. What brought people of different ethnicities together? Acceptance of common life values; gradual consolidation of Confucianism as a state-building ideology; attraction to figurative thinking and preference for contemplation. All this formed an interesting conglomeration of national artistic guidelines, which includes nature worship, philosophical understanding of the nature of art, understanding of the relationship between human existence and the laws of existence of the universe. It is from this position that the philosophers and artists of ancient China treated the art of singing, which was perceived as one of the means of communication with the world and a part of spiritual practices. This determined the uniqueness of Chinese folk song as one of the most important components of national culture. We note that, as in the culture of other countries, Chinese folk song was one of the most common musical genres, responding to changing of aesthetic dominants of society. From ancient times, the Music Department has been operating in China, one of the tasks of which was to select songs and approve the time and order of their performance. One of the most famous monuments is the famous Book of Songs «Shijing» (詩經), which presents the established genre and style typology of songwriting: domestic, labor, love songs and works that glorify the rulers. Another facet of folk art associated with the embodiment of fantastic images is reflected in another monument – «Chu Ci» or «Verses of Chu» (楚辭). These artifacts determined the development path of Chinese vocal culture. Now let’s turn to an important factor for our study – language. Due to its phonetic features, the Chinese forms a specific intonation of melos and unusual for the European listener vocal speech. Considerable attention in Chinese singing culture was paid to the emotional coloring of the “musical message”, the tension of which was achieved through timbre colors and the use of extremely high register. Another important aspect of the language that influenced China’s vocal culture is its rather complex rhythmic organization. Language affects the singer’s thinking, the formation of his organs of articulation. But can changes in vocal culture affect verbal language? Since the beginning of the twentieth century, the structure of the vocal art of the Celestial Empire has changed almost radically. Today it is practically identical to what we can find in any European country. But, in our opinion, there is something that significantly distinguishes the vocal art of modern China from other national vocal schools. It’s a question of language. After all, a singer who seeks to improve in the academic vocal art is forced to restructure the entire speech apparatus without which it is impossible to master bel canto as a basic vocal technique. Conclusions. The verbal component is an important part of vocal culture, because it is a representative of national picture of the world and through its structures embodies the specifics of thinking of a particular people. Language determines all the melodic parameters – semantic, intonation, compositional, emotional, etc. The most illustrative proof of this is the folk song culture, which is the basis for the further formation of academic genres of music. In this sense, China’s vocal culture is a unique phenomenon, in which academic culture is shaped by borrowing the cultural heritage of other countries. Moreover, one of the most important markers of this borrowing is the assimilation of music and speech resources namely.
47
Lim, Alvin Eng Hui. "Live Streaming and Digital Stages for the Hungry Ghosts and Deities". Religions 11, nr 7 (17.07.2020): 367. http://dx.doi.org/10.3390/rel11070367.
Pełny tekst źródłaStreszczenie:
Many Chinese temples in Singapore provide live streaming of getai (English: a stage for songs) during the Hungry Ghost Month as well as deities’ birthday celebrations and spirit possessions—a recent phenomenon. For instance, Sheng Hong Temple launched its own app in 2018, as part of a digital turn that culminated in a series of live streaming events during the temple’s 100-year anniversary celebrations. Deities’ visits to the temple from mainland China and Taiwan were also live-streamed, a feature that was already a part of the Taichung Mazu Festival in Taiwan. Initially streamed on RINGS.TV, an app available on Android and Apple iOS, live videos of getai performances can now be found on the more sustainable platform of Facebook Live. These videos are hosted on Facebook Pages, such as “Singapore Getai Supporter” (which is listed as a “secret” group), “Singapore Getai Fans Page”, “Lixin Fan Page”, and “LEX-S Watch Live Channel”. These pages are mainly initiated and supported by LEX(S) Entertainment Productions, one of the largest entertainment companies running and organising getai performances in Singapore. This paper critically examines this digital turn and the use of digital technology, where both deities and spirits are made available to digital transmissions, performing to the digital camera in ways that alter the performative aspects of religious festivals and processions. In direct ways, the performance stage extends to the digital platform, where getai hosts, singers, and spirit mediums have become increasingly conscious that they now have a virtual presence that exceeds the live event.
48
Ding, Boyu. "The opera “Mulan psalm” by Guan Xia in the modern musical culture of China". Culture of Ukraine, nr 82 (13.12.2023): 67–76. http://dx.doi.org/10.31516/2410-5325.082.08.
Pełny tekst źródłaStreszczenie:
The purpose of the article is to identify and systematize a complex of historical, cultural and musical factors that caused the great popularity of the opera “Mulan Psalm” in China and the interest in this work of viewers from many countries on different continents.
The methodology combines elements of the musicological complex (music-historical, music-performance methods) with historical, cultural and comparative methods, which allows us to analyze and compare the ancient text with the opera libretto, characterize the main means of expression used by the composer, define the historical and cultural background on which the opera was created, and describe the specifics of the opera’s portrayal of the main character, around whose fate the entire plot of the work is built.
The results. Even the initial analysis of the opera by the prominent contemporary artist Guan Xia shows the multivariate interpretation of the image of the main character — one of the most famous characters of the ancient folk epic, as well as the possibility of finding hidden meaning in this masterpiece of modern Chinese opera, because with each new viewing or with each new production of “Mulan Psalm” and new actors performing the main roles, in particular, the three leading singers performing the role of Mulan, different facets of this heroine and the deeper meaning of the opera, which quickly crossed national borders and gained universal significance due to the involvement of its authors, directors and performers in the values that are eternally important to humanity, are revealed: patriotism, sacrifice for the sake of the homeland, and at the same time, sincere love, natural feelings, love for family, brothers in arms, and a loved one. Almost all of the characters are endowed with all of these traits, as there are virtually no negative characters in the opera, since the image of the enemy as such, as well as the enemy army, is not individualized but presented as a common evil that the characters fight and defeat.
The practical significance of the article consists in understanding the significance of the opera “Mulan Psalm” in the operatic art of modern China and identifying the prospects of presenting the best achievements of Chinese artists in this genre on the world academic concert stage.
49
Ло, Ч. "Chamber vocal music". Modern Humanities Success, nr 2 (25.02.2024): 277–83. http://dx.doi.org/10.58224/2618-7175-2024-2-277-283.
Pełny tekst źródłaStreszczenie:
камерная вокальная музыка является уникальным искусством, которое объединяет выразительность певческого голоса, художественные особенности поэтического слова и звуковую красоту инструментального сопровождения. Этот вопрос связан с взаимодействием слова и музыки, жанровой организацией текста и музыкальных источников, а также особенностями исполнения вокальных произведений. Особый интерес также вызывает популярная советская песня времен Отечественной войны под названием "Дороженька", которая приобрела широкую известность в Китае и была многократно обработана современными китайскими композиторами. В этих обработках прямая связь с оригинальным советским источником со временем постепенно исчезала, но вместе с тем возникали новые музыкальные аналогии, указывающие на влияние инструментальных концертных форм музицирования, таких как фантазии, вариации и другие. Цель данного исследования заключается в изучении камерно-вокальных сочинений, созданных китайскими композиторами, и их включении в репертуар современных певцов. Это исследование стремится рассмотреть уникальные характеристики и особенности этих композиций, а также их влияние на развитие и расширение репертуара современных исполнителей. В этой статье мы обратимся к одному из наиболее актуальных вопросов, связанных с камерной вокальной музыкой, который был пристально изучен во множестве исследований, среди которых работы Б.В. Асафьева, В.А. Васиной-Гроссман, Л.А. Мазеля и других. chamber vocal music is a unique art that combines the expressiveness of the singing voice, the artistic features of the poetic word and the sonic beauty of instrumental accompaniment. This issue is related to the interaction of words and music, the genre organization of text and musical sources, as well as the characteristics of the performance of vocal works. Also a popular Soviet song from the time of the Patriotic War called “Dorozhenka” is of particular interest, which became widely known in China and has been reworked many times by modern Chinese composers. In these adaptations, the direct connection with the original Soviet source gradually disappeared over time, but at the same time new musical analogies arose, indicating the influence of instrumental concert forms of music-making, such as fantasies, variations and others. The purpose of this study is to study chamber vocal works created by Chinese composers and their inclusion in the repertoire of modern singers. This study seeks to examine the unique characteristics and features of these compositions and their impact on the development and expansion of the repertoire of contemporary performers. In this article we will address one of the most pressing issues related to chamber vocal music, which has been closely studied in many studies, including the works of B.V. Asafiev, V.A. Vasina-Grossman, L.A. Mazel and others.
50
Mittler, Barbara. "Book Reviews : Antoinet SCHIMMELPENNINCK, Chinese Folk Songs and Folk Singers. Shan 'ge Traditions in Southern Jiangsu. Leiden: Chime Foundation, 1997. 442 pp., with CD, appendices, bibliography and index. ISBN: 90-803615-1-8. Price: Dfl. 75.00". China Information 15, nr 1 (marzec 2001): 314–16. http://dx.doi.org/10.1177/0920203x0101500149.
Pełny tekst źródła