Type of Document Treatise Author Yang, Hui-Ting Author's Email Address firstname.lastname@example.org URN etd-05062006-231539 Title Selected Taiwanese Art songs of Hsiao Tyzen Degree Doctor of Musical Arts Department Music, College of Advisory Committee
Advisor Name Title Timothy Hoekman Committee Chair Carolyn Bridger Committee Member Ladislav Kubik Committee Member Valerie Trujillo Committee Member Keywords
- Voice and Taiwanese
- Taiwanese Composer
- Taiwanese Diction
Date of Defense 2006-04-28 Availability unrestricted AbstractThe colonial historical background of Taiwan, which dates back four hundred years, produced a large body of folksongs. These songs connected deeply with people’s social lives and traditions, and reveal Taiwanese history. The earliest Taiwanese art songs, however, can be traced only as far back as the period of Japanese colonization (1895-1945). During this period, composers started to notate and rearrange traditional folksongs or imitate the style of folksong while using other sources for lyrics, such as poems. This is the origin of Taiwanese creative folksongs. This adaptation of folksong and the evolution from folksong to creative folksong led to the creation of the Taiwanese art song. After World War II, several composers who had studied in Japan returned to Taiwan and began to compose art songs in Taiwanese. However, the Nationalist Party, known as Kuomintang or KMT, dominated Taiwan in 1949. Mandarin became the official language and the Taiwanese language was forbidden for public use from 1949 to 1987. The complicated political and social situation led to a hiatus in serious Taiwanese art song composition. After 1990 an increasing number of composers and performers became interested in Taiwanese literature and poetry, and they began to compose and perform Taiwanese art songs again.
Just as Schubert elevated the musical status of the German Lied, Hsiao Tyzen, one of the most important contemporary Taiwanese composers, firmly established the status of Taiwanese art song in the twentieth century. Due to his personal circumstances and the Taiwanese political situation, he remained in America for eighteen years (1977-1995), and during that time he enjoyed the most productive compositional period of his career.
Although Hsiao’s compositional style is strongly influenced by romantic composers such as Rachmaninov, and by nationalistic composers such as Bartók, his musical style is also strongly associated with Taiwanese tradition. He has created his own individual style by adopting native Taiwanese folk elements and combining them with western compositional techniques.
This treatise presents a brief historical background of Taiwanese art songs, introduces Hsiao’s biography, discusses Hsiao’s compositional style and characteristics, addresses diction in Taiwanese art songs, and analyzes four of his Taiwanese art songs with regard to diction and musical expression.
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