The reform-minded aspect of Wang's writing is frequently emphasized while its rhetorical component is overlooked. Similarly, in texts which appear poetic in nature the underlying subject matter of reform fails to be recognized. Both rhetoric and its antithesis function in tandem in all of Wang's texts, the one serving to balance the other; stylistic writing serves to soften political discourse. When Wang writes poetically, the problem of reform is served through allusion. In contrast, when direct terminology is employed, this is balanced by rhetorical analogy (often citing the past to prove the present, jie gu yu jin). Because his subject matter is predominantly political, Wang's memorials and prose texts are well known, while his poetry has remained in relative obscurity. Nevertheless, even the memorials rely on the balance of rhetoric and aesthetics, which he describes in his best known text "Shang Ren Zong Huang Di Yan Shi Shu".

Benjamin Britten was one of the major twentieth-Century composers in England, wrote twelve song cycles for voice and piano or various instruments, and the most prolific composer of the genre since Gustav Mahler. On this Island written during his early period, Britten employs various Baroque musical traits and the modern music techniques, which shows his influence on the neoclassical style. The study of the lecture recital document contains four main sections: the life of the composer, the stylistic features of Britten¡¦s song compositions, the written background of the cycle, and detailed analysis of the whole cycle. On This Island was Britten¡¦s first song cycle written for solo voice and piano. The success of premiere of the cycle brought him as one of the most important composer of this genre in the history of the twentieth-century music.

Thesis (Ph. D.)--Princeton University, 1981. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 269-295).

Thesis (M.A.)--Zhongguo wen hua xue yuan. / Cover title. Reproduced from typescript. Includes bibliographical references (leaves 84-86).

This paper presents an examination of the art songs of Czech composer Vítězslava Kaprálová (January 24, 1915 - June 16, 1940) through detailed analysis of selected works. Kaprálová created a unique character for each of her art songs, with careful attention to idiomatic declamation and syllable stress, tone-painting in the accompaniments, and the use of primarily "post-impressionistic" stylistic techniques. Most importantly, this study focuses on the fact that her composition was firmly rooted in the text, and that her choice and adaptation of text convey important autobiographical motivation as well as insight into her character and personality.

Typically, the art song recital is a performance event of primary importance within the university environment; however, the career Heldentenor entering academia may find that the aggressiveness of timbre and the scale of loudness he has developed to sing Wagner's heavily orchestrated, very long roles are inappropriate for the performance of most art song repertoire. If the Heldentenor possesses an appropriate pitch structure, he can adapt his technique to sing as a baritone and develop the warmth of timbre and nuance of expression appropriate to the intimate qualities of recital performance. Art song recital performance conditions and those of some Wagnerian tenor roles are described and contrasted, emphasizing the acoustical challenges and demands upon stamina that drive the Heldentenor toward specialization. The acoustics of audibility and voice type are described. A method for adapting the Heldentenor to recital baritone is presented, incorporating exercises developed from the acoustical principles examined within this document. Examples are presented of power spectra and the application of these techniques to repertoire, documenting the efficacy of the author's method in adapting the Heldentenor from the least intimate of repertoires to the most refined.

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Thesis (M.A.)--Zhongguo wen hua da xue, 1981. / Cover title. Reproduced from ms. copy. Includes bibliographical references (p. 251-257).

Thesis (M.A.)--Guo li zheng zhi da xue, 1975. / Reproduced from typescript copy; on double leaves. Includes bibliographical references (p. 158-166).

Thesis (M.A.)--Guo li zheng zhi da xue, 1984. / Bibliography: p. 239-250.