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Twentieth century Chinese vocal musi...

Chao, Nancy Hao-Ming.

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Twentieth century Chinese vocal music with particular reference to its development and nationalistic characteristics from the May Fourth Movement (1919) to 1945.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Twentieth century Chinese vocal music with particular reference to its development and nationalistic characteristics from the May Fourth Movement (1919) to 1945./
作者:	Chao, Nancy Hao-Ming.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1995,
面頁冊數:	521 p.
附註:	Source: Dissertation Abstracts International, Volume: 56-04, Section: A, page: 1282.
Contained By:	Dissertation Abstracts International56-04A.
標題:	Music education. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9526456

Twentieth century Chinese vocal music with particular reference to its development and nationalistic characteristics from the May Fourth Movement (1919) to 1945.
Chao, Nancy Hao-Ming.

Twentieth century Chinese vocal music with particular reference to its development and nationalistic characteristics from the May Fourth Movement (1919) to 1945. - Ann Arbor : ProQuest Dissertations & Theses, 1995 - 521 p.

Source: Dissertation Abstracts International, Volume: 56-04, Section: A, page: 1282.

Thesis (Ph.D.)--University of California, Los Angeles, 1995.

This dissertation is primarily a historical study of the twentieth century Chinese vocal music and its development before 1945. It aims to provide additional information and a new perspective for the study of modern Chinese songs and is based on two approaches: firstly, recognizing and analyzing the historical and sociological significance of modern songs as part of a changing culture; secondly, through direct musical analysis, acknowledging and extending the range of the research tradition that already exists in the study of Chinese music.Subjects--Topical Terms:

3168367
Music education.

Twentieth century Chinese vocal music with particular reference to its development and nationalistic characteristics from the May Fourth Movement (1919) to 1945.
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245 1 0 $a Twentieth century Chinese vocal music with particular reference to its development and nationalistic characteristics from the May Fourth Movement (1919) to 1945.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1995
300 $a 521 p.
500 $a Source: Dissertation Abstracts International, Volume: 56-04, Section: A, page: 1282.
500 $a Chair: Charlotte Heth.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 1995.
520 $a This dissertation is primarily a historical study of the twentieth century Chinese vocal music and its development before 1945. It aims to provide additional information and a new perspective for the study of modern Chinese songs and is based on two approaches: firstly, recognizing and analyzing the historical and sociological significance of modern songs as part of a changing culture; secondly, through direct musical analysis, acknowledging and extending the range of the research tradition that already exists in the study of Chinese music.
520 $a The methodology for this study includes both inductive and deductive investigation, using historical and musicological data, primarily for critical evaluation and corroboration of aspects of the music. This dissertation is divided into three parts. Part I is the historical background. Chapter I introduces the late-Ch'ing Poetry Revolution and the beginning and development of the School Song. Chapter II outlines the May Fourth Movement and the creation of Chinese new songs. Chapter III focuses on new poetry text in urban musical life after the May Fourth era, and surveys representative texts among new poetry text writers.
520 $a Part II presents an analytical study of three pioneers, Chao Yuen-ren, Huang Tze and Hsien Hsing-hai, for discussion and analysis as follows: (1) A brief biographical introduction and the background of the songs. (2) Analysis of the composer and his songs, which includes: (a) the nationalistic characteristics, (b) the relationship between the music and the text, (c) linguistic tonality and melodic contour, (d) Harmonic interpretation and formal structure, and (e) textual presentation.
520 $a Part III is concerned primarily with singing style. Chapter VII identifies the determinants of the traditional Chinese vocal singing styles. Chapter VIII focuses on the ethnic style of modern Chinese vocal music. The final chapter offers a brief conclusion and is devoted specifically on how to create ethnic-style musical works with Western compositional techniques, and establish a fundamental modern Chinese singing approach.
520 $a The appendices contain particular reference including a glossary of songs, composers and textwriters, program notes and event fliers for Chinese art song concerts produced by the author, published newspaper articles written by the author, and videotape and cassette sound recordings of Chinese art songs, interviews with music professionals as well as examples of Chinese ethnic singing style.
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