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Ode to Ancient Filial Piety: Gu xiao...

Chan, Angel Chi-Oi.

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Ode to Ancient Filial Piety: Gu xiao song.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Ode to Ancient Filial Piety: Gu xiao song./
作者:	Chan, Angel Chi-Oi.
面頁冊數:	109 p.
附註:	Source: Dissertation Abstracts International, Volume: 58-03, Section: A, page: 6270.
Contained By:	Dissertation Abstracts International58-03A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9726186
ISBN:	9780591350944

Ode to Ancient Filial Piety: Gu xiao song.
Chan, Angel Chi-Oi.

Ode to Ancient Filial Piety: Gu xiao song. - 109 p.

Source: Dissertation Abstracts International, Volume: 58-03, Section: A, page: 6270.

Thesis (D.M.A.)--University of Missouri - Kansas City, 1997.

The composition reflects two cultures, Chinese and European. The lyricist, James Jow (1919-1996) chose the text of the Twenty-Four Filial Pious Stories from the ancient Chinese as the subject for his poems. They are set to music in Western style written in the traditional manner without sacrificing the simplicity of the ancient time. The expression and interpretation of the correct sound or tone of each phrase has been taken into consideration with extreme caution to make the music follow the inflection of the language. Every Chinese character is transliterated in order to facilitate the pronunciation for non-Chinese singers. The English translation also allows a better understanding of the lyrics. Moreover, the narration in the first movement, written in both Chinese and English, draws attention to the importance of promoting filial love.

ISBN: 9780591350944Subjects--Topical Terms:

516178
Music.

Ode to Ancient Filial Piety: Gu xiao song.
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500 $a Source: Dissertation Abstracts International, Volume: 58-03, Section: A, page: 6270.
502 $a Thesis (D.M.A.)--University of Missouri - Kansas City, 1997.
520 $a The composition reflects two cultures, Chinese and European. The lyricist, James Jow (1919-1996) chose the text of the Twenty-Four Filial Pious Stories from the ancient Chinese as the subject for his poems. They are set to music in Western style written in the traditional manner without sacrificing the simplicity of the ancient time. The expression and interpretation of the correct sound or tone of each phrase has been taken into consideration with extreme caution to make the music follow the inflection of the language. Every Chinese character is transliterated in order to facilitate the pronunciation for non-Chinese singers. The English translation also allows a better understanding of the lyrics. Moreover, the narration in the first movement, written in both Chinese and English, draws attention to the importance of promoting filial love.
520 $a The music is tonal throughout. It begins with eighteen measures of an accompaniment of steady pulses supporting a static melody, given first to an oboe, then followed by the cellos, depicting an entrance to the ancient era. The first movement goes with the second one to form an ABA$\sp\vert$ structure. This B section includes materials from the fourth movement, and the A$\sp\vert$ is introduced by a soprano solo, and continued by the choir. The third movement, in strophic form, is typical of a style of the Chinese folk song, of which the second stanza is slightly altered toward the end. Two marimbas embellish the folk idiom. The fourth movement is the most lyrical section. The minor mode, with its agitated rhythmic accompaniment in the middle section, is used for text painting and the following unison basically repeats the story. The last movement is written in the form of ABA$\sp\vert$Coda, where the fugal passage in the B section is first presented by the choir and the strings, then by a vocal quartet along with wind instruments. In the Coda, the accompaniment of steady pulses leading to a tenor solo of the first theme is an echo of the first movement. The movement slowly fades away.
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