PDF《by Yiu-Kwong Chung D.M.A. DOCUMENT》

and very special thanks to my coach, Edward Bak. It was not easy going through so many things without having a family here. Meeting you and becoming friends/family with you warms my hearts. Last, I really want to thank my voice teacher/advisor, Dr. Robin Rice. People are always impressed with how much I have grown vocally, mentally, and emotionally after I vi studied with you. (Sometimes, I even wonder if you have magic!) Thank you for believing in me since the first lesson. This means a lot to me. There were a lot of things I do not think I could have done without your encouragement;

for example, this document. For me, this long journey does not only mean that I have completed this degree, but this also means that I found myself. Thank you for supporting me to be who I am. Thank you, thank you, and thank you. vii Vita 2003.B.M. Voice Performance, National Taiwan University of Arts, Taipei, Taiwan 2006.M.M. Voice Performance, National Sun Yat-Sen University, Kaohsiung, Taiwan Document: A Study of Edward Grieg'

s Sechs Lieder, Op.

48 2009.M.M. Voice Performance, The Ohio State University, Columbus, OH 2010.Recipient, Irma Cooper Vocal Scholarship, The Ohio State University. 2011.Recipient, Graduate Research Small Grants Program, The Ohio State University Fields of Study Major Field: Music Studies in Applied Voice: J. Robin Rice, D.M.A. (2009-2012) viii Table of Contents Abstract…ii Dedication…iv Acknowledgments…v Vita…vii List of Tables…x List of Examples…xi Chapter One: Introduction…1 Chapter Two: Mandarin-Chinese Art Songs in Taiwan…6 The beginning of Mandarin-Chinese Art Songs

6 The Development of Mandarin-Chinese Art Songs.7 The Development of Mandarin-Chinese Art Song in Taiwan.10 Chapter Three: Introduction of Mandarin-Chinese Diction…15 Chapter Four: The Mandarin-Chinese Diction- Vowels and Glide…21 Introduction…21 Vowels and Glides: ㄚ [a], ㄛ [?], ㄜ [?], ㄜ [?], ㄝ [ε], ㄦ [?], ㄧ [i], ㄨ [u], ㄩ [y], ㄢ [an], ㄣ [?n], ㄤ [a?], ㄥ [??]22 ix Diphthongs: ㄞ [ai], ㄟ [ei], ㄠ [u], ㄡ [ou]31 Chapter Five: The Mandarin-Chinese Diction- Consonants…33 Introduction…33 The Bilabial Stop: ㄅ [p], ㄆ [ph ], ㄇ [m]36 The Labiodental Fricative: ㄈ [f]38 The Dental Stop: ㄉ [t], ㄊ [th ], ㄋ [n]38 The Dental Lateral: ㄌ [l]40 The Velar Stop and Fricative: ㄍ [k], ㄎ [kh ], ㄏ [x]43 The Alveolar-palatal Fricative and Affricate: ㄐ [t?], ㄑ [t?h ], ㄒ

41 The Post-alveolar Affricates and Fricative: ㄓ [t?], ㄔ [t?h ], ㄕ

45 The Post-alveolar Approximant: ㄖ

48 The Dental Affricates and Fricative: ㄗ [ts], ㄘ [tsh ], ㄙ [s]49 Chapter Six: Chung Yiu-Kwong- The Composer…52 Biography…52 Style…56 Chapter Seven: Zhimo Xu- The Poet…61 Biography…61 Love Life…67 Writing Style…71 Chapter Eight: Three Sets of Mandarin Chinese Art Songs by Yiu-Kwong Chung…….76 Three Poems by Xu Zhimu…77 x Four Poems by Xu Zhimu…89 Three Chinese Folk Song…101 Chapter Nine: Conclusion…108 Appendix A…112 Appendix B…113 Bibliography…115 xi List of Tables Table 1: The Traditional Analysis of the Chinese Syllable…16 Table 2: Thirty-Seven Symbols of Zhuyin Fuhao and IPA…19 Table 3: The Vowel Space Diagram…23 xii List of Examples Example 1: The First Sentence of the Poem, Ouran , by Zhimo Xu…5 Example 2: ........