Wu-Hsiung Chen¡]b.1945-¡^is a Kaohsiung local composer. Although he never received any formal music education, he dedicates himself to creating Taiwanese songs. Chen started to compose when he was in his twenties. His early works were piano variations of Taiwanese folksongs. Several years later, he tried to write choral arrangements of Taiwanese folksongs, and he also found the Red Clogs Choir. In recent years, Chen cooperates with many Taiwanese local poets to create nearly one hundred choral songs. Chen hopes his songs could touch the local people¡¦s hearts and bring the awareness of Taiwanese language and culture. Chen emphasized, ¡§If the lyrics cannot inspire me, I will not be able to compose.¡¨ Songs are the artistic extension of the poems. The author of this paper has been the conductor of Red Clogs Choir for ten years and worked with the composer since young. She synthesizes the composer¡¦s creative motives, the lyric writers¡¦ reactions with the musical works, and the audience¡¦s response and chooses eight representative songs written by eight different poets among Chen¡¦s numerous Taiwanese choral songs. The first song, ¡§Four Seasons, Four Sentences¡¨, is a joyful panegyric on the four seasons in Taiwan. The second song, ¡§Spring Dream¡¨, strongly expresses a young man¡¦s yearning for love. The third song, ¡§Earthquake¡¨, emphasizes Taiwanese strong personality no matter how bad they have suffered from severe earthquakes. The fourth song, ¡§Beloved Four-leaved Clover¡¨, expresses the anticipation that four main ethnic groups of Taiwan can respect, and benefit from, one another and unite together as a clover. The fifth song, ¡§Rats¡¨, vividly portrays the old Taiwanese saying: Raise rats to bite your own sacks (which mean being betrayed by those whom you brought up). The sixth song, ¡§Night Scenery of Hsitzu Bay¡¨, represents the beautiful night view at Hsitzu Bay. The seventh song ¡§Taxi¡¨ depicts the lives of hard-working taxi drivers. Finally, the last song, ¡§Taiwan, My Country¡¨, speaks of Taiwanese people¡¦s praise and warm feelings for this island. An obvious song-writing style can be found in these eight choral works. There is always a major melody in each song which matches the rhymes of the text. Chen likes to use jumping intervals with rhythmic change when he wants to display passionate, enthusiastic, heroic or spirited feelings. The harmony is generally in traditional Western style. Chen often uses syncopated rhythms to emphasize some lyrics and sometimes adds semitones to change the music color. He likes to use the piano accompaniment. It brings out the atmosphere, provides harmony, and helps the chorus to maintain its Taiwanese rhymes and poetic expressions. This paper consists of six parts: the preface, Wu-Hsiung Chen¡¦s life, Chen¡¦s works, Eight Taiwanese choral songs, the characteristics of Chen¡¦s songs, and the conclusion.

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Thesis (M.A.)--University of Hong Kong, 1985.

Thesis (doctoral)--Eberhard-Karls-Universität, Tübingen. / Includes bibliographical references (p. 173-197).

Thesis (M.A.)--University of Hong Kong, 1985. / Also available in print.

This M.A. thesis is a critical study of Chen Jiangong's fiction, chiefly attempting to reveal the process of thematic development in this author's works by way of tracing the hero through non-hero to anti-hero. The first chapter, which is biographical, makes a brief account of Chen's family background, personal experience as well as the unique personality fostered by his ten year career as a coal-miner. The second chapter presents an analysis of the thematic defects of his early fiction, and meanwhile some technical matters are succinctly introduced. The third chapter deals with the stylistic traits -- subject matter, narrative technique and language -- of the three stories which left untouched in the previous chapter due to their different way of representation. In order to show clearly Chen's two styles, a comparison of these three stories with his other early works is frequently made. The fourth chapter is an interpretation of his two mature works "No. 9 Winch Handle Alley" and "Looking for Fun." The centre of attention is mainly concentrated on "the sense of tragicomedy" -- a philosophy of life rather than a mere technique Chen acquired after he disposed of former literary dogmas. The fifth chapter is devoted to a comparative study of his masterpiece "Curlylocks" and how it was influenced by J.D. Salinger's "The Catcher in the Rye". The aspect of anti-heroism is especially stressed. The sixth chapter is a summary in which Chen's thematic transformation from heroism to anti-heroism is reiterated and his literary achievements are evaluated. / Arts, Faculty of / Asian Studies, Department of / Graduate

Thesis (M. Ec.)--University of Adelaide, 1992. / Includes bibliographical references (leaves 70-72).

My work seeks to simulate the impermanence of memory, through the creation of structures and images that translate the mind’s formless but living past into physical material and sensation. The need to search for the missing six years of my childhood memories in Thailand has been the driving force behind the works, along with the lingering emotions of emptiness and unfulfillment. I create multimedia installations with materials, such as plaster, pvc panels, acrylic, polycrylic and dura-lar, to structurally realize a subject as intangible and elusive as memory. Issues of duality, identity, impermanence and memory are underlying themes for my thesis investigation. Dreamfall is a simulated, dream-like landscape where the pervading sense of solitude exists throughout the sparsity and whiteness of the installation. It is a place for contemplation and silence, a landscape of the past relived.

abstract: In an interview with the composer Liu Yintong, she shared her thoughts regarding her inspiration to compose the duet Memorial II. Liu studied under Chen Yi, who is a leading female contemporary composer. She has won many honors and awards worldwide, in addition to performing with major symphonies and musicians, including Yo-Yo Ma, Evelyn Glennie, the Cleveland Orchestra, the British Broadcasting Company (BBC), and Los Angeles Philharmonic. Chen Yi’s Percussion Concerto combines Eastern and Western music styles and also includes Chinese poetry, and elements of Beijing opera. Similarly, Liu uses Chinese poetry and elements of Hebei opera in Memorial II. This document and recording of Memorial II will examine the musical integration of Liu’s educational and cultural experience into her composition. In addition this document will examine Hebei opera styles of singing, imitated in the cello and piano. / Dissertation/Thesis / Doctoral Dissertation Music 2019

Chen-Lian welfare center has become the famous and potential star in supermarket competitive environment for ten years and it faces the serious attack of the traditional market¡Bconvenient store and retail department store. Due to the similarity management style¡Ahomogeneous competition is inevitably. It is the main topic of the dissertation how Chen-Lian faces the difficulties. This dissertation uses the SWOT method and strategic innovation analysis method, and analyzes the key success factors that become the first class of the supermarket in Taiwan. From the SWOT method, we understand the inner advantage and disadvantage and outer opportunity and threats. Then we can know the competition situation and advantage. Using the strategic innovation analysis , we can understand the advantage and innovative factor in product¡Bmarket and core resource. To sum up, we will provide the viewpoint ¡Bstrategic advice and conclusion for Chen-Lian.