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https://hdl.handle.net/2440/114437
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DC Field | Value | Language |
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dc.contributor.advisor | Whittington, Stephen Charles | - |
dc.contributor.advisor | Coaldrake, Kimi | - |
dc.contributor.author | Chang, Qing (Lily) | - |
dc.date.issued | 2018 | - |
dc.identifier.uri | http://hdl.handle.net/2440/114437 | - |
dc.description.abstract | 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. | en |
dc.subject | Chinese art song | en |
dc.subject | ornamentations | en |
dc.subject | Pinyin | en |
dc.subject | vocal techniques | en |
dc.subject | vocal style | en |
dc.subject | musical characteristics | en |
dc.title | Performing Chinese contemporary art song: a portfolio of recordings and exegesis | en |
dc.type | Theses | en |
dc.contributor.school | Elder Conservatorium of Music | en |
dc.provenance | Copyright material removed from digital thesis. See print copy in University of Adelaide Library for full text. | en |
dc.provenance | This electronic version is made publicly available by the University of Adelaide in accordance with its open access policy for student theses. Copyright in this thesis remains with the author. This thesis may incorporate third party material which has been used by the author pursuant to Fair Dealing exceptions. If you are the owner of any included third party copyright material you wish to be removed from this electronic version, please complete the take down form located at: http://www.adelaide.edu.au/legals | - |
dc.description.dissertation | Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2018. | en |
dc.identifier.doi | 10.25909/5b99eed223525 | - |
Appears in Collections: | Research Theses |
Files in This Item:
File | Description | Size | Format | |
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01front.pdf | 312.95 kB | Adobe PDF | View/Open | |
02whole.pdf | 5.4 MB | Adobe PDF | View/Open | |
Permissions Restricted Access | Library staff access only | 254.49 kB | Adobe PDF | View/Open |
Restricted_1 Restricted Access | Library staff access only | 5.66 MB | Adobe PDF | View/Open |
Restricted_2 Restricted Access | Library staff access only | 34.89 MB | Zip file | View/Open |
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