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Setting Classical Chinese Poetry to ...

Mao, Jin Xin,

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Setting Classical Chinese Poetry to Music: Comparison of Three Settings of su Shi's Prelude to Water Tune by Chen Yi and Chen Qigang /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Setting Classical Chinese Poetry to Music: Comparison of Three Settings of su Shi's Prelude to Water Tune by Chen Yi and Chen Qigang // Jin Xin Mao.
Author:	Mao, Jin Xin,
Description:	1 electronic resource (108 pages)
Notes:	Source: Masters Abstracts International, Volume: 86-04.
Contained By:	Masters Abstracts International86-04.
Subject:	Poetry. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31527161
ISBN:	9798342119375

Setting Classical Chinese Poetry to Music: Comparison of Three Settings of su Shi's Prelude to Water Tune by Chen Yi and Chen Qigang /
Mao, Jin Xin,

Setting Classical Chinese Poetry to Music: Comparison of Three Settings of su Shi's Prelude to Water Tune by Chen Yi and Chen Qigang /Jin Xin Mao. - 1 electronic resource (108 pages)

Source: Masters Abstracts International, Volume: 86-04.

"Prelude to Water Tune" is a famous poem in Classical Chinese by Song dynasty poet Su Shi, written for his brother Su Che during his years far away from home. At the time of the genesis of the poem, in 1076, Su underwent functionary demotion and was assigned the position of governor in Mizhou, a small town in the North-East of China. In his work, Su expressed his feeling of loneliness, desire to go up towards the Lunar palace, and his final reconciliation with his situation. Nowadays, this poem is associated with the traditional Chinese mid-autumn festival-an opportunity for family and friends to get together to contemplate the full Moon while eating mooncakes. Contemporary Chinese immigrant composers Chen Yi and Chen Qigang, who both set the poem to music, are among the earliest composers to graduate from the Beijing Central Conservatory shortly after the end of the Cultural Revolution in 1976. Afterwards, they went abroad to perfect their composition training, Chen Yi in the US, at Columbia University, under the direction of Chou Wen-Chung and Mario Davidovsky, and Chen Qigang in France under Olivier Messiaen. Today, they both live outside of China, and both chose to set Su's poem about loneliness to music. Chen Qigang set the poem in his composition for baritone and an ensemble of 11 instruments Poeme lyrique II, and Chen Yi in the second movements of her Fiddle Suite and Percussion Concerto. From transnational, transtemporal, intercultural, and narrative perspectives, I will compare and contrast these settings, and explore whether they help towards a better understanding of the poem.

English

ISBN: 9798342119375Subjects--Topical Terms:

528749
Poetry.

Setting Classical Chinese Poetry to Music: Comparison of Three Settings of su Shi's Prelude to Water Tune by Chen Yi and Chen Qigang /
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520 $a "Prelude to Water Tune" is a famous poem in Classical Chinese by Song dynasty poet Su Shi, written for his brother Su Che during his years far away from home. At the time of the genesis of the poem, in 1076, Su underwent functionary demotion and was assigned the position of governor in Mizhou, a small town in the North-East of China. In his work, Su expressed his feeling of loneliness, desire to go up towards the Lunar palace, and his final reconciliation with his situation. Nowadays, this poem is associated with the traditional Chinese mid-autumn festival-an opportunity for family and friends to get together to contemplate the full Moon while eating mooncakes. Contemporary Chinese immigrant composers Chen Yi and Chen Qigang, who both set the poem to music, are among the earliest composers to graduate from the Beijing Central Conservatory shortly after the end of the Cultural Revolution in 1976. Afterwards, they went abroad to perfect their composition training, Chen Yi in the US, at Columbia University, under the direction of Chou Wen-Chung and Mario Davidovsky, and Chen Qigang in France under Olivier Messiaen. Today, they both live outside of China, and both chose to set Su's poem about loneliness to music. Chen Qigang set the poem in his composition for baritone and an ensemble of 11 instruments Poeme lyrique II, and Chen Yi in the second movements of her Fiddle Suite and Percussion Concerto. From transnational, transtemporal, intercultural, and narrative perspectives, I will compare and contrast these settings, and explore whether they help towards a better understanding of the poem.
520 $a "Prelude sur la tonalite de l'eau" est un poeme ecrit en Chinois classique par le poete Su Shi de la dynastie Song, dedie a son frere Su Che quand il se trouvait loin de sa patrie. Au temps de la genese du poeme en 1076, Su venait d'etre demode de son poste de fonctionnaire et avait ete reassigne en tant que gouverneur a Mizhou, une petite ville au nord-est de la Chine. Dans son poeme, Su a exprime son sentiment de solitude, son desir de monter vers les pagodes lunaires et enfin sa reconciliation definitive avec sa situation actuelle. De nos jours, ce poeme est associe a la celebration traditionnelle chinoise de la fete de la mi-automne, qui est une occasion qui permet aux familles et amis de se reunir pour contempler la pleine-lune tout en degustant des gateaux de la lune. Deux compositeurs contemporains d'origine chinoise, Chen Yi et Chen Qigang, ont mis le poeme en musique. Ces deux compositeurs figurent parmi les premiers a completer leurs etudes au Conservatoire Central de Pekin, peu apres la fin de la revolution culturelle en 1976. Par la suite, ils ont perfectionne leurs etudes en composition a l'etranger, Chen Yi aux Etats-Unis, a la Columbia University, sous la tutelle de Chou Wen-Chung et de Mario Davidovsky et Chen Qigang en France, sous la direction d'Olivier Messiaen. Aujourd'hui, ils vivent tous deux a l'exterieur de la Chine et tous deux ont choisi de mettre en musique le poeme de Su qui exprime la solitude. Chen Qigang a ecrit une piece pour baryton et ensemble compose de onze instruments Poeme lyrique II tandis que Chen Yi a cite le poeme dans les deuxieme mouvements de sa Fiddle Suite et de son Percussion Concerto. En adoptant des perspectives tels que le transnationalisme, le transtemporalisme, l'interculturalisme et la narrativite, je vais comparer ces trois mises en musique et demontrer si elles aident ou non a une meilleure comprehension du poeme.
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