Дисертації з теми "Chinese art song"
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1
Zhang, Tieyi. "The first generation of Chinese art song." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6900.
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Choi, Yee-tuen Maria. "Song Huizong (R.1100-1125) and the Imperial Painting Academy Song Huizong yu han lin tu hua yuan /." Click to view the E-thesis via HKUTO, 1999. http://sunzi.lib.hku.hk/hkuto/record/B31951946.
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Lee, Hui-shu. "The domain of Empress Yang (1162-1233) art, gender and politics at the Southern Song court /." New Haven, Conn. : Yale University, 1994. http://catalog.hathitrust.org/api/volumes/oclc/37238041.html.
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Hammers, Roslyn Lee. "The production of good government : images of agrarian labor in Southern Song (1127-1279) and Yuan (1272/79-1368) China /." online access from Digital dissertation consortium, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3057957.
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5
Sun, Yung-Wei. "A Performance Guide to Mandarin-Chinese Diction and Selected Art Songs by Yiu-Kwong Chung." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339551292.
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Choi, Yee-tuen Maria, and 蔡懿端. "Song Huizong (R.1100-1125) and the Imperial Painting Academy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31951946.
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7
Bloom, Phillip Emmanual. "Descent of the Deities: The Water-Land Retreat and the Transformation of the Visual Culture of Song-Dynasty (960-1279) Buddhism." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10948.
Повний текст джерелаАнотація:
This dissertation identifies a paradox at the heart of the visual culture of Song-dynasty (960-1279) Buddhism. On the one hand, as the celestial pantheon expanded, it was conceptualized in ever more bureaucratic ways, mirroring the growth of the terrestrial government itself. On the other hand, the boundary separating that supramundane realm from the human world became decidedly more permeable; ghosts and deities became an omnipresent part of daily life. How to treat these two contradictory phenomena--one pointing to rational orderliness, the other pointing to unpredictable unruliness--posed a distinct problem for Song visual artists, spurring the development of new strategies of pictorial representation and forcing reflection upon the nature of representation itself. Chinese Buddhist art was never to be the same again. I argue that the key to understanding these new forms of art lies in the Water-Land Retreat (Shuilu zhai), a massive, icon-filled ritual of decidedly cosmic pretensions. The patterns of practice and strategies of visual representation associated with this ritual constitute a system that radically broke with earlier Chinese tradition. Practitioners of the liturgy created an open ritual syntax that allowed it to take on myriad forms in accordance with its sponsors’ needs, while also allowing it to absorb deities and practices from non-Buddhist traditions. This dissertation examines these phenomena in three parts. Part 1 excavates the social place, methods of practice, and visual profile of the Water-Land Retreat in and around the Song. Relying extensively on paintings from the Jiangnan region, cliff carvings from Sichuan, and numerous liturgical manuscripts, I argue that image and practice are inextricably bound in this ritual. Part 2 focuses on the motif of the cloud in Water-Land-related images and texts. Through an examination of images of cloud-borne descending deities, I contend that this nebulous motif became the locus for reflection on the mediational nature of representation. Finally, Part 3 addresses the bureaucratization of ritual practice and pictorial production in Song Buddhism. I argue that practitioners of the Water-Land Retreat simultaneously embraced and transcended a bureaucratic idiom drawn from Daoism and contemporary government to create a new Buddhist vision of the cosmos.History of Art and Architecture
8
Hao, Shilun. "IDS---Intelligent Dougong System: A Knowledge-based and Graphical Simulation of Construction Processes of China’s Song-style Dougong System." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1417702752.
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Suchan, Thomas. "The eternally flourishing stronghold: an iconographic study of the Buddhist sculpture of the Fowan and related sites at Beishan, Dazu Ca. 892-1155." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054225952.
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10
Maudsley, Catherine Ruth. "Ritual meanings of "water and land" : a study of Buddhist cermonial paintngs [sic] of the Song and Yuan dynasties /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19882166.
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11
Chi, Mei-Fung Agnes Kang. "A Performance guide for contemporary Chinese art songs from Taiwan /." Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11974527.
Повний текст джерелаАнотація:
Thesis (Ed.D.)--Teachers College, Columbia University, 1996.Typescript; issued also on microfilm. Sponsor: Lenore Pogonowski. Dissertation Committee: Harold F. Abeles. Accompanying tape has Recitation of Chinese poems. Includes bibliographical references (leaves 251-257).
12
Emerson, Whitney. "All of Chinese Literature Condensed: A Sourcebook from the Playwright, Director, and Biggest Fan." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5932.
Повний текст джерелаАнотація:
Aristotle stated in his Poetics that theatre's dual purpose was to educate and entertain. Centuries later the Roman Horace and Indian Bharata echoed his same sentiments. I intend to realize all three theorist's ideas on the theatre by creating an original educational and entertaining work and bringing it to performance. The audience will retain information without being aware of learning if it is presented in a pleasurable way.
The most important geopolitical relationship of this century will be between China and America. In order to educate the American public about the culture of The Middle Kingdom, I propose to write and direct my own play, condensing all three thousand years of Chinese literature into a one hundred and ten minute performance. I will benefit from the personal nature of this thesis by experiencing every stage of a play's production: from idea to page to performance.
My thesis will be made of three major parts: conceiving and writing the play, a journal of directing the debut production, and a third section made of choices, influences, and reflection on the entire experience. In this manner, the ideas swirling in my head may be made clear to others reading this thesis.
The play itself will be a comical distillation of ten selected works of Chinese literature. Four non-gender specific American actors will seem to make up the show as it performs in a tongue-in-cheek way. Taking my stated goal of entertaining and educating the audience to heart, the overarching plot of the play will center on the four actors teaching the audience about the literature and culture of China by acting out scenes and telling stories. The information in the scenes will be targeted to a normal American citizen's educational level with liberal doses of humor added. The four actors will be playing fictionalized versions of themselves and at times breaking character by explaining and setting up the theatricality of the piece to the audience. Part of the fun of the show will be seeing how these actors explain a subject as obtuse as Chinese literature to Americans. Perhaps a cooking metaphor is the best way to think of the play: I will chop up raw Chinese literature, the actors will boil it onstage, the theatregoer will consume the mix, and exit the theatre full of entertaining intellectual nourishment.
My experiences directing and producing the finished play will be recorded in a journal as a resource for future directors. I imagine directing the play will be the most challenging aspect of this thesis. How is the play changed when other people interact with it? How will the audience receive it? In addition, Committee Chair Mark Routhier and my thesis Committee Members, Mark Brotherton and Tan Huaixiang, will also give written responses to the play's performances. The play will be performed October 10-13, 2013 in the University of Central Florida's Performing Arts Complex Studio 2 classroom.
In the final section I will write a reflection on the entire process. This will serve the dual purpose of giving me a place to collect my thoughts and giving others a special insight to the growth they might experience when producing this play. Foremost among my influences in writing a play with this subject matter are the style and tone of The Reduced Shakespeare Company.M.A.
Masters
Theatre
Arts and Humanities
Theatre
13
Murck, Alfreda. "Poetry and painting in Song China : The subtle art of dissent /." Cambridge (Mass.) ; London : Harvard University Press, 2000. http://catalogue.bnf.fr/ark:/12148/cb37735148n.
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Publow, Erin Elizabeth. "Mothers and Sons: A Gender Study of the Modern Chinese Woodcut Movement." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392977093.
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Tsai, Wei-Shu. ""A Blossoming Tree": A Study and Interpretive Guide to the Songs of Nan-Chang Chien on Selected Poems of Muren Hsi." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157550/.
Повний текст джерелаАнотація:
According to a recent United Nations report, China's population of 1.4 billion represents 19% of the world's entire population of 7.6 billion. As the distance between east and west contracts in business, so too do the arts. This dissertation focuses on six selected contemporary Chinese art songs composed by Nan-Chang Chien. By providing the references of musical facts, synopsis of the poems, word-for-word translation, IPA transcription, poetic translation, and interpretive and performance guides, singers and pianists will have an overall understanding and detailed directions for learning the Chinese language and Chinese art songs. This dissertation also provides the foundation and model for further exploration and research into Chinese art sing literature by scholars in the west.
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Schimmelpenninck, Antoinette Marie. "Chinese folk songs and folk singers : Shan'ge traditions in Southern Jiangsu /." Leiden : Universiteit, 1997. http://catalogue.bnf.fr/ark:/12148/cb36967334t.
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Welch, Ian. "Alien son : the life and times of Cheok Hong Cheong, (Zhang Zhuoxiong) 1851-1928 /." View thesis entry in Australian Digital Theses Program, 2003. http://thesis.anu.edu.au/public/adt-ANU20051108.111252/index.html.
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Welch, Ian, and iwe97581@bigpond net au. "Alien Son : The life and times of Cheok Hong Cheong, (Zhang Zhuoxiong) 1851-1928." The Australian National University. Research School of Pacific and Asian Studies, 2003. http://thesis.anu.edu.au./public/adt-ANU20051108.111252.
Повний текст джерелаАнотація:
This thesis contributes to the ongoing discussion of modern Chinese identity by pro-viding a case study of Cheok Hong CHEONG. It necessarily considers Australian atti-tudes towards the Chinese during the 19th century, not least the White Australia Pol-icy. The emergence of that discriminatory immigration policy over the second half of the 19th century until its national implementation in 1901 provides the background to the thesis. Cheong was the leading figure among Chinese-Australian Christians and a prominent figure in the Australian Chinese community and the thesis seeks to iden-tify a man whose contribution has largely been shadowy in other studies or, more commonly, overlooked by the parochialism of colony/state emphasis in many histo-ries of Australia. His role in the Christian church fills a space in Victorian religious history.
Although Cheong accumulated great wealth he was not part of the Chinese mer-chant class of the huagong/huaquiao traditions of the overseas Chinese diaspora of the 19th and 20th centuries. His wealth was accumulated through property investments following the spectacular collapse of the Victorian banking system during the 1890s. His community leadership role arose through his position in the Christian Church rather than, as was generally the case, through business. His English language skills, resulting from his church association, were the key to his role as a Chinese community spokesman.¶
Cheok Hong Cheong left an archive of some 800 documents in the English lan-guage covering the major people, incidents and concerns of his life and times. His Let-terbooks, together with the archives of the various Christian missions to the Chinese in Australia in the 19th and early 20th centuries, shed light on one person’s life and more broadly, through his involvements on the complex relationships of Chinese emigrants, with the often unsympathetic majority of Australians.¶
This is a case study of a Chinese identity formed outside China and influenced by a wider set of cultural influences than any other Chinese-Australian of his time —an identity that justifies the description of him as an ‘Alien Son’. Cheong’s story is a con-tribution to the urban and family history of an important ethnic sub-group within the wider immigrant history of Australia.¶
While Cheong remained a Chinese subject his identification with Australia cannot be questioned. All his children were born in Australia and he left just twice after his arrival in 1863. He visited England in 1891-2 and in 1906 he briefly visited China. Identity and culture issues are growing in importance as part of the revived relation-ship between the Chinese of the diaspora and the economic renewal of the People’s Republic of China and this thesis is offers a contribution to that discussion.
19
Wu, Juanyu. "L' image de la Chine et son influence dans l'art des jardins paysagers anglais au XVIII ème siècle en Europe." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0063.
Повний текст джерелаАнотація:
Pendant le XVIIème et le XVIIIème siècle, en Europe, la Chine était un sujet en vogue. Toutes les couches sociales, des familles royales aux gens du peuple, se sont adonnées aux «chinoiseries ». L'engouement était général. De la même façon, les rares voyageurs qui ont fait le long périple vers la Chine en sont revenus avec des récits passionnés, qui ont fasciné les lecteurs européens. Ces récits, comme porteurs de la culture d'un pays imaginaire, ont renouvelé le regard européen, particulièrement dans le domaine du paysage et de l'art des jardins. Cette thèse vise à mettre au clair une convergence entre les sources arcadienne et chinoise en matière de paysage au XVIIIème siècle. On essaie d'analyser quelques descriptions de jardins chinois dans les lettres des jésuites européens pendant le XVIIème et le XVIIIème siècle, et d'exposer comment ces idées se sont transmises au XVIII ème siècle en Europe, au travers de la création d'un nouveau style: le jardin paysagerDuring the XVIIth and the XVIIlth centuries, in Europe, China was a fashionable subject. The social orders, from royal families to common people, devoted themselves to "Chinoiseries". Infatuation was universal. Similarly, the rare European passengers who made the long journey towards China, came back with passionate recites, which fascinated the European readers. These recites, as holders of the culture of an imaginary country, renewed European look, particularly in the field of the landscape and the art of gardens. This thesis aims at clarifying a convergence between Arcadian and Chinese sources in landscape garden in the XVIIith century. We try to analyse some descriptions of Chinese gardens in the letters of the European Jesuits during the XVIIth and the XVIIIth centuries, and to display how these ideas were passed on Europe in XVIIIth century, through the creation of a new style: the English landscape garden
20
Louis, François. "Die Goldschmiede der Tang- und Song-Zeit : archäologische, sozial- und wirtschafsgeschichtliche Materialen zur Goldschmiedekunst Chinas vor 1279." Bern : P. Lang, 1999. http://catalogue.bnf.fr/ark:/12148/cb40112689k.
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21
Zhang, Chi. "Sartre en Chine : 1939-1976 : histoire de sa réception et de son influence /." Paris : Éd. le Manuscrit, 2007. http://catalogue.bnf.fr/ark:/12148/cb412424440.
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Shinonaga, Nobutaka. "La Formation de la banque industrielle de Chine et son écroulement un défi des frères Berthelot /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37618589g.
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23
"Difficulties for Chinese Vocalists in Singing French Art Song." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53790.
Повний текст джерелаАнотація:
abstract: Late nineteenth-century French art song, also known as mélodie, is one of the most important genres in a classical singer’s repertoire and it cannot be ignored. Its creation represents a marked improvement over the song form of French Romance which dates from the eighteenth century.
French art song was not introduced to China until the establishment of the New Republic of China in 1949. In the decades since then, French art song seems less favored by Chinese singers, when compared to Italian songs and German Lieder. Having studied both in China and the United States, the author realized that for Chinese native speakers, singing French art song is a difficult challenge.
Two main problems immediately present themselves: the language barrier and the obstacle of a basic understanding of French poetry. The author’s purpose here is to examine these problems and try to help Chinese singers by offering them a systematic path toward correct French pronunciation, a brief discussion of poetic imagery often seen in French poetry, and a selected bibliography of sources on French poetry to advance their comprehension.
First, the paper will introduce the phonology of Pinyin (Chinese Phonetic Alphabet), the system used in China to teach Chinese (Mandarin) and compare it with the IPA (International Phonetic Alphabet), which is universally used by people in the West to learn the pronunciation of most languages. The document will then show the sounds that are most challenging for Chinese singers and will give some suggestions and vocal exercises to help singers better pronounce French diction.
Secondly, the author will examine a few poems used in French songs to point out some of the cultural differences between China and Western countries and identify the challenges in understanding the meaning of selected French art songs from the perspective of a Chinese singer. Since an exhaustive study of French poetry would be another broad topic to be researched, the author will offer only basic suggestions and a brief annotated bibliography of sources at the end of this research project.
It is the author's hope that this document will benefit Chinese singers and voice teachers by acquainting them with French diction and by helping them to appreciate French song literature.Dissertation/Thesis
Doctoral Dissertation Music 2019
24
Huang, Hui-Wan, and 黃惠婉. "A study of Chinese art song by Chang-Fa Yu." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/33429542627107076352.
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25
CHEN, MEI WEN, and 陳玫妏. "A STUDY OF THE ARTIFICAL SKILL OF CHINESE ART SONG "CHASE" AND "RED BEAN SONG"." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/16087267515744560928.
Повний текст джерелаАнотація:
碩士東吳大學
音樂學系
92
The object of the article is to interpret the artificial skill of Chinese Art Song “Chase” and “Red Bean Song”. The scope of the research includes the introduction of the composer, the analysis of the construction of the song and the interpretation of the two songs by bel canto. There are four chapters in the article from the research of the two famous Chinese Art Song “Chase” and “Red Bean Song” to the trend analysis of modern Chinese Art Song .The paper also list the uniformity and difference between China classic vocalism and bel canto . The article also generalizes the acquaintance from bibliography to support the dissertation which accommodate the appreciate and interpretation of Chinese Art Song.
26
Chang, Qing (Lily). "Performing Chinese contemporary art song: a portfolio of recordings and exegesis." Thesis, 2018. http://hdl.handle.net/2440/114437.
Повний текст джерелаАнотація:
This performance-based research project surveys Chinese contemporary art song from 1976 to the present, as represented in the work of four composers: Shi Guangnan (1940–1990), Lu Zaiyi (b. 1943), Shang Deyi (b. 1932), and Zheng Qiufeng (b. 1931). The songs, which are grouped into five categories according to their content – patriotic, nature, narrative, love and friendship – are documented, analysed and performed. A particular focus is placed on the interpretation and performance of musical elements that cannot be captured in notation, for example the use of certain vocal ornaments to emulate the four tones of Chinese pronunciation. The submission comprises four CD recordings and a 15,000-word exegesis. A short English commentary is delivered before each song on the CDs so that the listener is able to grasp its content. The interpretation of the songs is informed by consultations and interviews with the composers still living. The recordings provide guidance in the interpretation of this repertoire, and an enhanced understanding of the operatic style at the heart of Chinese art song. The study fills a gap in the knowledge of Chinese contemporary art song theory and practice.Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2018.
27
He, Yanchiuan. "The materiality, style, and culture of calligraphy in the Northern Song Dynasty (960-1127)." Thesis, 2013. https://hdl.handle.net/2144/13138.
Повний текст джерелаАнотація:
The cultural accomplishments of the Northern Song dynasty are unrivalled in Chinese history. Song literati were particularly enthusiastic about calligraphy and writing materials, and the scale of their engagement in the art of writing exceeded that of both former and later dynasties, leaving plentiful legacies of calligraphic culture for later generations to study and appreciate. However, most modern studies emphasize the transmission of calligraphic culture from the Tang to Song and neglect the dynamics of disconnection and transformation between these two dynasties. By demonstrating how the technologies of brush, paper, ink cake, ink stone, and chair and desk (the "materiality" of calligraphy) shaped the look of calligraphy, this dissertation proposes an alternative understanding of the nature of Song innovations in the art of writing. Insofar as these innovations reconfigured the subsequent history of Sinitic calligraphy (calligraphic traditions based on Chinese characters), this dissertation argues that we cannot understand the art of writing without exploring the technology of writing. Through this study, I present the processes by which the literati of Northern Song traced, received, and modified the calligraphic culture of the past in creating their own Northern Song culture. Because of cultural discontinuity and transformation, what they ultimately reconstructed served as the foundation for their own culture, and has become the basis for how we think of the pre-Song past.
28
"Chen Rong and the Transformation of Nine Dragons." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.15960.
Повний текст джерелаАнотація:
abstract: This dissertation is the first detailed and extensive study dedicated to the life and art of the master artist and scholar-official Chen Rong (active 13th century), and offers an expanded analysis of his most famous work, the Nine Dragons scroll (1244). It provides a reconstruction of Chen Rong's biography, character and political career, and discusses his significance and impact in the study of Chinese painting during the late Southern Song dynasty (1127-1279) and beyond, by highlighting the reception and interpretation of the Nine Dragons scroll in the past and in modern times. This is achieved by addressing writings such as eulogies, poems and commentary about Chen Rong by his contemporaries and later biographers, and also analysis of recent works by contemporary Chinese artists that reinterpret Chen Rong's Nine Dragons motif directly. In addition to offering an expanded reading and interpretation of Chen Rong's inscriptions on the Nine Dragons scroll and inscriptions by subsequent viewers of the scroll, this study sheds light on the artistic context, significance, and historical development of dragons and dragon painting in China. This dissertation also offers the first full English transcription and translation of Emperor Qianlong's inscription on the Nine Dragons scroll, and that of his eight officials. Furthermore, this dissertation includes two detailed appendices; one is a detailed appendix of all of Chen Rong's paintings documented to exist today, and the second is a list of paintings attributed to Chen Rong that have been mentioned in historical documents that no longer appear extant. This interdisciplinary study provides insight into the processes that influence how an artist's work is transformed beyond his time to that of legendary status. This clarification of Chen Rong's biography and artistic activity, particularly with respect to his most famous work the Nine Dragons scroll, contributes to modern scholarship by providing an expanded understanding of Chen Rong's life and art, which in turn, adjusts prevailing perceptions of his life and work.Dissertation/Thesis
Ph.D. Art History 2012
29
Wu, Clair, and 吳萍康. "s through Cheng Ming''s art of performance Written for Chun Chiang Hwa Yueh Yeh(Spring moon,river,flowers and me)-----Wu PingKang Chinese Song Recital." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/48897027149822448324.
Повний текст джерелаАнотація:
碩士中國文化大學
音樂研究所
92
Abstract In the past 100 years, Bel canto and the ethnicstyles of Chinese songs are contradict combination in China. But in present age, the ethnic style songs of Chinese have been expended in material, enrich in expressing artistries, and pour into more morden taste on the traditional foundation. The thesis will discuss the possibility about combining with Bel canto and ethnic styles of Chinese songs through theory and pratice. The model is the vocalist Cheng Ming. I wish the study can solve the problem that most the Taiwan vocalist cant be pronunciation clearly and lack of enthnic styles when they sing the Chinese songs. The other way, expected to break through the bottleneck of stereotyped ethnic styles in Mainland singers. I think that building the ethnic styles of singing is not only get the "singing skill" but also to understand the connotation of the ethnic styles correctly and use the skill flexibly. For many factors, the music surrounding of Taiwan overhead tended to western styles have been a long time. Bel canto is the main trend of special vocal education. It is difficulty but important that Bel canto singer how to sing the Chinese songs well on the the basis of ones voice condition and skill. The first, they must discard the pattern of monotonous vocal skill just sing freely and smoothly, in elaborate pronunciation and tune, interpretate with personal expression creatively. Then Bel canto singer will break through the limit of voical style. Key words: Bel canto、ethnicstyles、Chinese songs
30
SU, LI-WEI, and 蘇立偉. "The Moral Meaning of Chinese Classical Dance from Kant's Aesthetics: Taking the Dance Department of NIAO SONG Junior High School And Art Experimental High School in Taiwan as an Example." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/q3r6uy.
Повний текст джерелаАнотація:
碩士國立臺灣藝術大學
藝術管理與文化政策研究所
106
The purpose of this study is to explore the impact of the "Chinese Classical Dance" education curriculum on students' "aesthetic" and "moral". And the German philosopher Kant proposed how "beauty is a symbol of morality" in the art education? Therefore, this study is based on Kant's aesthetics and applies some of the basic concepts to explore three issues: I. What is Chinese classical dance? How does its course work? II. How do the aesthetics and morality be connected from the aspect of students of dancing department? III. How do the aesthetics and morality be connected from the aspect of teachers of dancing department? A total of 12 graduates of the senior third grade dance class in NIAO SONG junior high school and art experimental high school as objects of study, the research was conducted through the interview method of semi-structural formula. The findings and conclusions of this study are as the following: I. The teaching objectives of Chinese classical dance can be said to coincide with Kant's aesthetic, "beauty is a symbol of morality." Through the analysis of Kant's aesthetics, we can understand that the internalization of morality can be exhaled from the cultivation of art, that is, "Beauty is a symbol of morality." II. The edification process of Chinese classical dance education can achieve the examination and cultivation of students' morality. For example, when a student is injured during a dance practice, he or she can often surpass the pain of the body with a sense of spiritual sublimity. It is also like when a student dances in a group dance and have been seen at his or her role in a less conspicuous position. It is not just focus on her own personal performance, but also the harmony of teamwork and group performance. III. The dance teacher’s education on the moral cultivation of students is to tell the students that “three minutes on stage and ten years of work on the stage” also implies the importance of the unity of dance and morality, meaning the consistent appearance and attitude of students. The expression will be completely and unreservedly perceived by the audience. Such teaching methods will encourage students to take the initiative to put the moral consciousness into their daily lives, whether they are in the details of life or the interpersonal relationship. Reflect on the revision and gradually achieve the goal of self-discipline.
31
WAN, WU MEI, and 吳媺婉. "The rhetoric art of Chinese popular songs in Taiwan." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/60711849069741759319.
Повний текст джерелаАнотація:
碩士國立臺北教育大學
語文教育學系碩士班
94
Summary Chinese popular songs are the works that are closest to human life among all the literature forms. What entices the human heart most easily are songs which are audio-art. This article will discuss songs’ literary value and musical nature and make some systematical induction by making use of a characteristic of Chinese popular songs – easy to approach – and of a rhetoric angle. The discussion and induction can be helpful to offer another alternative teaching material in literature and language teaching. The article has six chapters as follows: The first chapter is an introduction, depicting research motivation, purpose and method and research scope and limits. The second chapter is a literature review, briefly talking about history of Chinese popular songs from 1949 to 2000 and also giving an arrangement of current research on Chinese popular songs. The third chapter is about the musical nature of the rhetoric of Chinese popular songs. Three approaches – level and oblique tones, rhymes, and rhythms – will be focused upon here in order to research about musical feeling that Chinese popular songs present. The fourth chapter is about the rhetorical theme of Chinese popular songs. All these songs will be divided into two categories – love and life. Songs’ literal meanings and musical nature will be concentrated on to make discussion. The fifth chapter is an expression of the art of Chinese popular songs. According to types of expressions remarked in Ching-shiuan Huang’s Rhetoric, all collected Chinese popular songs will be categorized into different categories. The sixth chapter involves conclusion and suggestion. The rhetoric art of Chinese popular songs will be induced. Suggestion for further research will be proposed. The rhetoric art that the article introduces in the article is as follows. Firstly, in respect of musical nature of Chinese popular songs, most of lyric lines of Chinese popular songs can have a mutual relation between level and oblique tones, disorder of syllables, and compatibility between rhymes and meanings of lyric lines. For this reason, listeners can feel the basic sense of the feeling that song writers would like to express according to words’ upwards and downwards pitches of sound. Secondly, in respect of theme rhetoric art of Chinese popular songs, whatever kinds of themes, expressions are used, the most often involve overlapped analogy, simile or metaphor, transformation, proposed question, pairing, parallelism, etc. Songs are a kind of art made through time. How songs can impress people needs design for elegant style such as overlapped analogy, pairing, and parallelism. How lyrical lines can appear clear and feeling can be involved with concreteness need metaphor and transformation as well as comparison’s adjustment of expression approaches at the same time. As for doubtfulness about feeling and life, the proposed question is a good way to go. Thirdly, in respect the of expression art of Chinese popular songs, Ching-shiuan Huang’s Rhetoric has thirty types of expressions. Expect analyzed words and hidden lyrics (which can hardly be found in songs) and exclamatory expressions and other twenty-seven types of expressions which can be easily found in Chinese popular songs. Among all these expressions, overlapped analogy, transformation and paring have the most cases; simile or metaphor, proposed question, exaggeration, set-off, parallelism, transition, and hyperbaton have quite a lot cases. Cultivated by popular songs, we not only live in the present moment’s time and space but also exist in the past time and space. Forefathers and modern people can feel the same way. Therefore, good songs can become widespread and be carried out from one generation to another as well as, more importantly, become very significant teaching material to attract young students.
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Yeoh, Chien-Yee, and 楊千羽. "The Studies of Malaysian Chinese Art Songs: Analysis of Khaw Guan Liang''s Works." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/03306873025595320262.
Повний текст джерелаАнотація:
碩士國立臺灣大學
音樂學研究所
94
The study of Malaysian Chinese art songs is a fresh topic in musicology. Based on fieldwork and analysis focusing on the work of the prominent Chinese musician Mr. Khaw Guan Liang, this study sets out to summarize the history of Malaysian Chinese music culture, reconstruct his professional music career and analyze the influences behind his style of music composition. Furthermore, we investigate his perception of national identity and ethnicism. This study has accomplished the following. Firstly, it has reconstructed partial history of the Malaysian Chinese Music based on the Malaysian Chinese art songs with a touch of the local multicultural flavor. Secondly, with emphasis on Mr. Khaw Guan Liang, we further explore the development of Malaysian Chinese art songs. In addition, we discuss the ideology behind Khaw’s compositions and his contributions to the Chinese community. Moreover, with the analysis on 1st hand data, we show the variation of activities and programs that have been held by the Penang Philharmonic Society, led by Khaw. Furthermore, this study has exhibited the harmonious blend of Oriental, Western, and South East Asia music elements and characteristics through the analysis on Khaw’s work. Last but not least, based on Clifford Geertz’s theory, this study has investigated Khaw’s stand in defining national identity and ethnicism, which lies within his work.
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Yang, De-wei, and 楊德威. "A Study of Chinese Art Songs during the May Fourth Movement: On Zhaoyuanren and Huangzi." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/12501809591700361270.
Повний текст джерелаАнотація:
碩士國立中正大學
中國文學所
94
Literature and music are modes of human emotional expression that have long been inseparable. The form that has become known as ‘Chinese art songs’ first saw day during the era of the May 4th Movement (nationalistic student movement of 1919) and marks a moment of particular significance in the history of the eastward spread of Western learning. The author addresses this art form in its cultural context by returning to the original forms of the music as first written so as to obtain a global appreciation of the form, then, through review of the works of Zhao Yuanren and Huang Zi, representative figures of the era, considers the historical significance of Chinese art songs in understanding the blending of Western and Eastern cultures. This distinctive approach opens a new perspective on studies in this field. The work is in seven parts. Part 1, the Introduction, sets out the purpose, research parameters and methodology of the study, and provides a review of existing literature. Part 2, Definitions, compiles and analyzes art song data from domestic and foreign sources and determines the definitions of ‘art songs’ for the context of this paper, while affirming the pivotal position of Chinese art songs of the May 4th period in modern musical and cultural history. Part 3, The Form Takes Shape, looks at the historical background and creative foundations of the form under the impact of Chinese and Western cultures, with reference to the literary and musical history of China. Part 4, Development, draws on newly-available musical history sources to recount the development of this musical form during the May 4th period, illustrated through the standpoints or theories of selected important musical figures of the time. Part 5, Lyrics and Melody, classifies the types of lyrics and melodies that appeared at the time and discusses their distinguishing features and cultural significance. Part 6, Typology and Representative Works, considers, from a musico-literary perspective, the relationship of lyrics to melody, and how one is matched to the other, then collates and compares, on the basis of the composers’ own approaches, actual works of the period, and discusses whether the goals of these various approaches were indeed attained. Part 7, the Conclusion, proceeds through an analysis of the works of Zhao Yuanren and Huang Zi to define a musico-literary identity for Chinese art songs, and tracks the subsequent positioning and development of the form.
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Xin-Rong, Xie, and 謝欣融. "The Probe into the Mezzo-soprano Vocal Interpretation Art of Chinese Songs through Bel Canto." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/41280474861984858023.
Повний текст джерелаАнотація:
碩士中國文化大學
音樂研究所
94
Abstract Through human beings distinguishing the high, middle, and low pitches of the voice, the original voice and hearing of the human beings resonate subtly, In Chinese songs, the well-rounded timbre of the Mezzo-soprano incessantly interacts and resonates with the audience. Meanwhile, the interaction and resonation generate a system under the application of Bel Canto of the western. This is a system of the singer’s realization, appreciating from various theories, form the flexible application, and from the natural singing. The main approach of this paper is how Mezzo-soprano expresses Chinese songs through extracting Bel Canto of the western. Bel Canto is not the only method, but it is still one of the main systems in the field of vocal music. I have contacted abundant Chinese songs from under graduate to graduate student; the fullness in my timbre and my interpretation of songs are confirmed by the professors all the time. Nevertheless, the position of resonation and the application of air stream are drawbacks, needed to be corrected urgently. As a result, it is essential to apply and to practice the theory of Bel Canto. Not discussing the old materials of the theory, I focus my point on the distinctive problem that Mezzo-soprano encounters and the methods of interpretation while performing. These “problems” and “methods of interpretation” are absolutely not a single pattern of thinking because of the various realization of different singers. In Mainland China, the way of presenting folk songs or the so-called ethnicstyles have not been defined clear yet. In Taiwan, the correct way of giving off sound is still the fixed rule of our vocal education. With correct techniques and a well structure, further assisted by abundant experiences of interpretation, we are able to perform the special voice, feeling, and features of Chinese songs as well as possible. At the same time, we can pour much energy into Chinese songs. Key words: Mezzo-soprano、 Bel Canto、Chinese songs、Interpretation Art
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游雲惠. "The ivestigative research on the vocal teaching of the Chinese art songs in senior high schools." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/07037812590757032366.
Повний текст джерелаАнотація:
碩士國立臺灣師範大學
音樂研究所
90
The Investigative Research On The Vocal Teaching Of The Chinese Art Songs In Senior High Schools Abstract The purpose of this research falls on the understanding of the situations of the Chinese art songs in vocal music teaching and learning in senior high school. With the methods of questionnaire and song analysis, this research tries to make a study of the significance and values of the Chinese art songs in music education in senior high school and understand viewpoints of senior high teachers and students towards the teaching of Chinese art songs and analyze the authorized Chinese art songs in senior high school. Thus the author expects to offer teachers and educational officials concrete proposals for their reference. This research collects and reorganizes documents, concerning Chinese art songs and its teaching, offered by experts and scholars. The analyses of the Chinese art songs are aimed at the substance of the vocals authorized by the curriculums of senior high school in 1995. The questionnaires with which senior high teachers and students were asked were chosen from public or private senior high schools which included comprehensive senior high schools and combined junior and senior high schools of the central area including Taichung County, Taichung City, Changhua County and Nantou County. The numbers of the objects of the research are sixty senior high music teachers. The rate of recovery is 85%. As for the students, there are seven hundred and fifty eight as the objects. The rate of recovery is 92.21%. There are three dimensions of the research. In the aspect of the teaching material, it reveals that the Chinese art songs in the authorized senior high school music books are the same as those in junior high in large quantities. Secondly, the Chinese art songs in senior high are seldom treated as appreciation material. Moreover, the teachers and the students are at present lowly motivated in learning the Chinese art songs. Furthermore, the Chinese art songs are becoming fewer in senior high music textbooks. And the teachers need the backgrounds of the writers of the songs most. In the aspect of the music teachers, it reveals that the teachers’ educational perspective, musical ability, familiarity with songs and their fondness affect the students’ motivation and effect. In the aspect of educational administration, musical seminars are not well planned or held. In conclusion, there are some suggestions about the three dimensions mentioned above. Chinese art songs should be edited more often in the teaching material of music appreciation concerning the aspect of editing-inspecting system. The editors ought to choose more Chinese art songs which are suitable for students to perform. We should discover and adopt new works more often. Publishers should be in rapport with textbooks to release CDs or VCDs and also invite excellent singers or groups to record sound material with high quality, and take them for teaching demonstration and appreciation. As for music teachers, the ought to improve their concepts and teaching methods continuously. Chinese art song teaching should coordinate with other subjects. The teachers are supposed to establish the list of the songs which fit their own students. In the aspect of educational administration, more contests of creative works of Chinese art songs should be held. Song classification system in high school and primary school and information bank are necessary. Lastly, we should conduct more Chinese art song solo, chorus contests or concerts.
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Mei-Huei, Ho, and 何玫慧. "Interpretation of Similarities and Differences between Chinese Traditional Kunqu Opera and Chinese Singing Art Songs "Chun Xiao" and "Chang Xian Zi" as an example." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/76232163082193165029.
Повний текст джерелаАнотація:
碩士國立臺灣藝術大學
中國音樂學系碩士班
100
Kunqu, also known as Kunju, Kun opera or Kunqu Opera, is one of the oldest extant forms of Chinese opera. It evolved from the Kunshan melody, and dominated Chinese theatre from the 16th to the 18th centuries. Kunqu has been 600 years of history. Chinese art songs, and today has developed a unique singing style and characteristics of Chinese culture, Voice, articulation, vocal techniques has reached a considerable level. On the use of the sound is mellower, more penetrating, the articulation is more smoothly. However, on the basis of Western bel canto, we also understood Chinese traditional art songs have a considerable impact to the development of the Chinese opera process. With the foundation of Western bel canto of singing with the unique traditional singing techniques, singing the Chinese art songs is more complete, more mature and more character. With the study on "Chun Xiao" and "Forever Lovers" two melodies, through the collected literature, music analysis etc., used in the Analysis of Chinese opera singing songs, singing of the features. The purpose of this study is to grasp to the interpretation on “Chun Xiao” and “Forever Lovers”, and look forward to continue to improve the performance of music, art, traditions.
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Wan, LiLynn. ""Out of Many Kindreds and Tongues": Racial Identity and Rights Activism in Vancouver, 1919-1939." 2011. http://hdl.handle.net/10222/13504.
Повний текст джерелаАнотація:
This dissertation examines “race” politics in Vancouver during the interwar period as one origin of human rights activism. Race-based rights activism is a fundamental element of the modern human rights movement and human rights consciousness in Canada. The rhetoric of race-based rights was problematic from its inception because activists asserted equality rights based on an assumption of racial difference – a paradox that persists in human rights rhetoric today. While the late interwar period marks the origin of modern rights rhetoric, it also reveals a parallel turning point in the history of “race.” The racial categories of “Oriental” and “Indian” originated as discursive tools of colonial oppression. But during the interwar period, these categories were being redefined by activists to connote a political identity, to advocate for rights and privileges within the Canadian nation. While many scholars interpret the driving force behind the Canadian “rights revolution” as a response to the work of civil libertarians and the events of the Second World War, I argue that changing interpretations of rights were also a result of activism from within racialized communities.
Interwar Vancouver was a central site for Canadian “race” politics. This type of political activism manifested in response to a range of different events, including a persistent “White Canada” movement; the Indian Arts and Crafts revival; conflict over the sale of the Kitsilano Reservation; the 1936 Golden Jubilee celebrations; sustained anti-Oriental legislation; and a police campaign to “clean up” Chinatown. At the same time, economists and intellectuals in Vancouver were beginning to recognize the importance of international relations with Pacific Rim countries to both the provincial and national economies. When “whiteness” was articulated by businessmen and politicians in City Hall, it was most often used as a means of defending local privileges. In contrast, the “Indian” and “Oriental” identities that were constructed by activists in this period were influenced by transnational notions of human rights and equality. The racial identities that were formed in this local context had an enduring influence on the national debates and strategies concerning rights that followed.