The purpose of this study was to examine and provide a pedagogical content analysis of the published songs of Karl Goldmark (1830-1915), an Austrian composer from the Romantic Era. The songs' characteristics were evaluated to determine the level of singer for which they would be appropriate. The creation of an annotation format was devised for the analysis of each song including the areas of subject matter, difficulty level, range, tessitura, tempo indication, duration, and unique characteristics of the vocal line and the piano line. The detailed entries provide an easy and accurate evaluation of the individual songs in order for the voice teacher to assess their value for each student, with particular attention to their suitability for the beginning, intermediate and advanced singer. These levels generally correspond to freshman or sophomore, junior or senior, and graduate student, respectively. The results indicate a division of difficulty level among all of the songs, with moderate difficulty being the most common. It has also been concluded that there are valuable songs for all levels of student. Areas for further study are included.

No description available.

The poems of Tang and the poetry of Sung are both the most know featurefor those two dynasties. However, Sung dedicated not only the fruitful outcome of poetry, but also the efforts and achievements on the poetry painiting, which promoted the achievements of art in Sung reaching the highest peak ever. For such great prevalence of Poetry Panting in Sung, most of the devotions were from the essences of various dynasties. In fact, the discussion of Poetry Panting and the interpretation of Poetry Panting had always attracted the royals, scholars and civilians of various dynasties. However, through the wars, division and exchange of the regimens of Ancient China, several destructions had came to the middle land art, yet some of the Poetry Painters still had successfully made some contribution thank to the preservation of a few their master pieces. According to the Xuanhe shupu and the Xuanhe huapu, the catalogs of the calligraphy and paintion which were edited by the Hui-tsung¡¦s inner court of the Northern Song Dynasty, the collected master pieces were achieved more than 7600. Yet with the time flows, most of the master pieces were damaged by the difficult preservation of the silk paper, and the well-preserved works of the Northern Song Dynasty were even less than 100 pieces. This result indicates the difficulty on researching Poetry Panting of this period. Although the remaining works are a small part to compare from the collections of the time, yet the rich contents were the most fascinating ever existed in the calligraphy and painiting history. It also shows that the reason for Song Period to be mentioned as the peak of the calligraphy and painting history, were not only the perfect harmony of the freehand brushwork, the realistic painting, and the expression of the idealism, but also the mature of the highly developed Art techniques during that period, which is also a part of this research.

Although modern Taiwanese literature is emphasized in recent years, there are few dissertations about classic Taiwanese literature. In this dissertation, the author tries to explore into the national consciousness presented in Wang Song¡¦s poetry. Wang Song is a classic poet in Taiwan when the Japanese were ruling Taiwan. Therefore, he has to present his national consciousness implicitly in his poetry. The author tries to explain his national consciousness through the three stages of Wang Song¡¦s life. This is because his poetry is deeply related with his life experience. The readers can observe Wang Song¡¦s paradoxical emotion in his poetry. This paradoxical emotion results from his national consciousness. Wang Song grew up in a traditional chinese family and he believes he is a Chinese. This is why he can¡¦t accept the Japanese government. Through the discussion of Wang Song¡¦s national consciousness, we can understand his motive of creation and the real meaning of his poetry. The second chapter introduces Wang Song¡¦s life and his work. The third chapter brings in the creative style of the classic Taiwanese society which Wang Song lived in. The forth chapter talks about Wang Song¡¦s creative style and his theory of creation. The fifth and sixth chapter are the analysis of the national consciousness in Wang Song¡¦s poetry. Although Wang Song¡¦s poetry are not as good as the other poets in the classic Chinese literature, his work shows the national consciousness when he survives in a colonialized society. Through the reading of his poetry, the author offers a way to understand the Taiwanese literary work during the Japanese colonializaiton.

The Rice Sprout Song, the first novel ever written in English by Zhang Ailing, was finished during the time when she resided in Hong Kong, namely, from 1952 till 1955. Forty-one years after she released the book and secured a firm position in the world of literature, she passed away in the USA in1995. According to Su Weizhen, it was Hu Shi that made the earliest comments on the novel. In his reply letter to its author, Professor Hu stated that ¡§from beginning to end, your novel focuses on famine, which might have been a suitable title if you had opted for it. On the whole, the story is described in an unadorned but natural manner.¡¨ Several decades later, Professor Xia Zhiqing offered the same commentary as Hu¡¦s, adding that the novel boasts considerable literary value. After making a probe into the background and inspiration of the novel, this paper dwells on its creative techniques, such as the multiple interpretations conveyed by the narratives, the skillful mastery of images in original writing, the presentation of colorful, concrete pictures, and the clever employment of irony. After that, this paper analyzes the music, mythology, drama, as well as ethical structure mentioned in the novel, and even investigates the standpoint from which the author shapes the characters successfully. Born at the turn of a new era and strongly influenced by both eastern and western cultures, Zhang Ailing is separate from her contemporaries in that she has stuck to her own writing style throughout her career. Nevertheless, as the masterpiece representative of her middle career, The Rice Sprout Song exhibits plainness and purity by basing its plot on real people and experiences. Being a member of Zhang¡¦s distinctly feminine creations, the novel differs from her early or late counterparts. For instance, one of her early hits, The Legends, is overly ornamental and brightly colored while two woks completed in her late years, The Discontented Woman and The Long-lasting Love, are genuinely refreshing and intriguing. Besides, it should be pointed out that the content of the novel is gradually shifted from the physical aspect to the ideological one. A writer trapped ¡§in the narrow corner of human history,¡¨ Zhang Ailing has only a little freedom to exercise her imagination. Therefore, it deserves deep thought that the uniquely rebellious author shows, out of humanitarian concern, sincere sympathy for the plight of Chinese peasants. Concentrating on the theme of rural poverty, she presents her observations in a direct and simple way and thus renders the novel different from her earlier works, which are characterized by a decorative and intricate style. Though described in easy language, the novel displays mature skills which demand heartfelt awe from its readers. No wonder Professor Wang Dewei recommends the novel as ¡§a vulgar model revolting against the modern trend.¡¨ In addition, what the characters say and do reflects the features of the man on the street rather than those of the upper class. As a result, it is fairly effortless for the readers to get exposed to ¡§true-to-life records of human history.¡¨ Keywords: Zhang Ailing (Eileen Chang), The Rice Sprout Song, symbolism, color image, anti-communism literature

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2008. / Title from title screen (site viewed Sept. 16, 2008). PDF text: 212 p. : music ; 5 Mb. UMI publication number: AAT 3297750. Includes bibliographical references. Also available in microfilm and microfiche formats.

published_or_final_version / abstract / toc / Chinese Historical Studies / Master / Master of Arts

published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / Fine Arts / Master / Master of Philosophy

In June 2013 the Vancouver International Song Institute (VISI) hosted its inaugural Contemporary Performance Studies program. The ten-day event offered student and emerging artist singers and pianists the opportunity to study and perform contemporary works both of their own selection and assigned by the program directors. Among the pieces assigned were works by Vancouver composers, both established professionals and rising talents, that showcased astonishing variety, depth, and excellence in their styles and artistry. The composers at VISI represented the latest generation in a long tradition of art song composition in Canada, but outside of the country's borders, Canada's composers and works are largely unknown. Lack of presence in the international musical canon has unfortunately been a historical issue for Canada. However, as compositional trends have shifted toward neo-tonality, art song in Canada has experienced significant growth in production and performance, particularly in Vancouver. Aided by organizations such as VISI, Canadian art song has been primed to take a prominent position on the international stage.