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A Performance Guide to Mandarin-Chinese Diction and Selected Art Songs by Yiu-Kwong Chung

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A Performance Guide to Mandarin-Chinese Diction and Selected Art Songs by Yiu-Kwong Chung A Performance Guide to Mandarin-Chinese Diction and Selected Art Songs by Yiu-Kwong Chung D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Yung-Wei Sun Graduate Program in Music The Ohio State University 2012 D.M.A. Document Committee: Robin Rice, Advisor Marjorie K. M. Chan Joseph Duchi Jere Forsythe Copyright by Yung-Wei Sun 2012 Abstract Over the past few decades, many social and cultural avenues from different countries have opened up, creating an emergence of singers from new cultures. This has allowed singers more opportunities to sing their national vocal repertoires in public concerts, placing new talents and repertoire on international stages. Some languages in these repertoires traditionally have been rare, such as Spanish, Russian, and Czech, and their introduction began to catch audiences’ imaginations. Take American singers as an example; they are excited to sing their new nationalistic repertoire for international competitions or concerts. As the repertoire’s texts and libretti related to the diction of that repertoire are published, the International Phonetic Alphabet (IPA) which is the universally recognized tool for singers to learn how to pronounce languages is becoming prevalent. This provides non-native speakers of those languages a more accurate and clearer mechanism in which to sing in those languages, which in turn allows these new vocal pieces to immediately become more popular. The artistry found in Mandarin-Chinese art songs is just as high as the vocal works in other languages, such as the French Mélodie or the German Lied. However, it is very difficult for non-native speakers of Mandarin-Chinese to sing the Mandarin-Chinese art songs because of their unfamiliarity with the language and the absence of literature related to the diction of Mandarin-Chinese. ii This study uses a singer’s point of view to explain pronunciations of Mandarin-Chinese IPA. By using the English, Italian, German, and French IPA systems, four of the most familiar languages for singers, it describes the pronunciations of Mandarin-Chinese which would give singers easier and accurate access to Mandarin-Chinese diction. It also provides the IPA for ten songs by one of the most well-known composers in Asia, Yiu- Kwong Chung. Each song provides not only the IPA translation of the texts of the Mandarin-Chinese songs, but also a word-for-word translation, and a poetic translation. The study offers a valuable bridge that provides countless non-native speakers of Mandarin-Chinese singers a clear, understandable, and efficient way to learn and sing Mandarin-Chinese diction, thereby opening a new world of repertoire. iii To my family iv Acknowledgments This was a very long journey for me to reach this point in my life. I would not be able to make it without so many amazing people around me. First, I thank my family for the unconditional support. Although I am thousands of miles away, I do not feel alone, because I know you are always there for me. Second, I would like to thank the professors on my committee, Marjorie K. M. Chan, Joseph Duchi, Jere Forsythe. Having an open- minded and passionate committee gave me more strength and confidence to complete my goal. Third, I thank my old friends, Fion Lee, Chia-Ning Lee, Ya-Hsin Lin, Hsin-Yi Chen, Pei-Han Chao, Hsin-Yi Lin, and special thanks to my undergraduate voice teacher, Mewas Lin. I could not imagine making it this far without having you. Thank you for listening to me, crying with me, being happy for me, and being such a wonderful friend in my life. Fourth, I thank my new friends I made here, Ju-Ya Cheng, Ja-Ping Lin, Sarah Khatcherian, Emily Holsclaw and Jaime Hartzell; 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 v 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. vi 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) vii 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 [ɔ], ㄜ [ǝ], ㄜ [ǝ], ㄝ [ε], ㄦ [ɚ], ㄧ [i], ㄨ [u], ㄩ [y], ㄢ [an], ㄣ [ǝn], ㄤ [aŋ], ㄥ [ǝŋ]………………………………22 viii Diphthongs: ㄞ [ai], ㄟ [ei], ㄠ [ɑu], 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 [tɕ], ㄑ [tɕh], ㄒ [ɕ]………………..41 The Post-alveolar Affricates and Fricative: ㄓ [tʂ], ㄔ [tʂh], ㄕ [ʂ]…………………..45 The Post-alveolar Approximant: ㄖ [ɹ]………………………………………………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 ix Four Poems by Xu Zhimu…………………………………………………………….89 Three Chinese Folk Song…………………………………………………..………..101 Chapter Nine: Conclusion………………………………………………………………108 Appendix A……………………………………………………………………………..112 Appendix B……………………………………………………………………………..113 Bibliography……………………………………………………………………………115 x 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 xi List of Examples Example 1: The First Sentence of the Poem, "Ouran", by Zhimo Xu………...…..………5 Example 2: Location of the Tonal Mark in IPA Transcription……. ....................... …….20 xii Chpater One: Introduction Over the past few decades, Italian, German, French, and English have been the main languages sung in traditional vocal repertoire. However, now that many social and cultural avenues from different countries have opened up to the world, more and more singers from new and various cultures have had more opportunities to sing their national vocal pieces in public concerts, placing new talents and repertoire on international stages. Some languages in this new international repertoire traditionally have been rare, such as Spanish, Russian, and Czech, and their introduction began to catch audiences’ imaginations. Some examples include, the very famous soprano aria, “Měsíčku na nebi hlubokém” (“Song to the Moon”) from Antonin Dvorak’s opera, Rusalka, which is in Czech. Or, the baritone aria, “Ya vas lyublyu” (“I love you beyond all measure”) from Peter Ilyich Tchaikovsky’s opera, Pikovaya Dama (The Queen of Spades), which is in Russian. Because these new vocal selections revealed and attracted singers’ attention, singers were encouraged to explore them, even though they were non-native speakers of those languages.
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