1 the Art Songs of Huang Zi

Home , Disappointed, Falling Flowers, Hong (surname), Jiangshi, Liu, Li Bai

The Art Songs of Huang Zi: A Selective Study

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

Yanyan Lin

Graduate Program in Music

The Ohio State University

2020

D.M.A. Document Committee

Robert J. Ward, Advisor

C. Andrew Blosser

Edward Bak

Christin Ray

Copyrighted by

Yanyan Lin

2020

Abstract

Over the past decades, the interaction of culture and art from different countries has become very popular- including singing. Many singers from all over the world desire to sing songs in their native language on the international stage while other singers want to try different songs from different countries. Besides vocal repertoire in Italian, German,

French, and English, there is still a large amount of vocal repertoire in other languages that remains unexplored, including Chinese art songs. However, relatively few non-Chinese singers perform them because of cultural and language barriers.

Considering that, the first chapter of this document introduces Chinese art songs, including a definition and developmental history. The second chapter explores Huang Zi, who was the representative composer during the first flourishing period of Chinese art songs. This chapter includes information on his life, career, his compositions, the influence on his compositional style, and the significance of his compositions.

To help reduce the language barrier, chapter 3 introduces the “Pinyin” system for pronouncing Chinese characters. Chapter 4 explores ten of Huang’s classic art songs, and provides a translation with “Pinyin” and text analysis. These two chapters offer non-

Chinese singers an understandable and effective way to sing and study Huang’s art songs.

Acknowledgments

I would like to express my gratitude to all my committees: Dr. Cyril Blosser, Prof. Edward

Bak, Dr. Christin L Ray, and Dr. Ward, for supporting and encouraging me to complete this document. Also, I would like to extend my special thanks to my former advisor and voice teacher, Dr. Scott McCoy. Also, thank you all who ever helped and supported me during my DMA program.

I also thank my husband Dr. Shi and my parents. Thank you all for giving me support and taking care of me during my DMA program. Without your endless support and love, I could not finish my DMA degree.

iii

Vita

July 2012………………………………..B.A. Music, Nanjing Normal University

July 2015………………………………..M.M. Voice, Nanjing Normal University

2015-2016………………………………Voice faculty, Changzhou Normal University

August 2018 to present…………………D.M.A Voice Performance, The Ohio State

University

Fields of Study

Major Field: Music

Concentration: Voice Performance

Table of Contents

Abstract ...... ii

Acknowledgments ...... iii

Vita ...... iv

Table of Contents ...... v

List of Tables ...... vii

List of Figures ...... viii

Chapter 1. Chinese Art Songs ...... 1

1.1. Definition of Chinese Art Songs ...... 1

1.2. Historic Development of Chinese Art Songs ...... 3

Chapter 2. Huang Zi ...... 10

2.1. Huang’s life and career ...... 10

2.2. Introduction to Huang’s Works ...... 15

2.3. Characteristics of Huang’s Art Songs ...... 17

2.4. The influences on Huang’s compositions ...... 21

2.5. Significance of Huang’s Compositions ...... 23

Chapter 3. Introduction to Chinese “Pinyin” System ...... 25

Chapter 4. Huang’s Art Songs ...... 29

4.1. Missing Homeland ...... 29

4.2. Spring Nostalgia ...... 33

4.3. Three Wishes of Rose ...... 37

4.4. Flower in the Mist ...... 40

4.5. Swallow’s Chirping ...... 42

4.6. Nanxiangzi - Reflections after Climbing Up the Northern Hill Pavilion ...... 45

4.7. Busuanzi - Written at Dinghui Abbey in Huangzhou ...... 49

4.8. Ode to Ascending the Tower ...... 52

4.9. Philosophical Song ...... 55

4.10. Downstream to Jiangling ...... 60

Chapter 5. Conclusion ...... 62

Bibliography ...... 63

Appendix A. Scores for Huang’s Art Songs with “Pinyin” ...... 67

List of Tables

Table 1 Summary of twenty-one initials in “Pinyin” system...... 25

Table 2 Summary of six basic finals in “Pinyin” system...... 26

Table 3 Summary of four tones in “Pinyin” system...... 27

vii

List of Figures

Figure 1: The historic development of Chinese art songs...... 4

Figure 2: Gongchi notation for Chinese song, “Zhe Gu Tian.” ...... 5

Figure 3: m. 1 - m. 3 from ‘Flower in Mist.” ...... 18

Figure 4: m. 1 - m. 3 in “Spring Nostalgia.” ...... 19

Figure 5: m. 13- m. 15 in “Missing Homeland.” ...... 19

viii

Chapter 1. Chinese Art Songs

1.1. Definition of Chinese Art Songs

In western music history, art song composition originated toward the end of the 18th century and reached its peak in the 19th century. In Germany, to differentiate from German folk songs (Volkslied), art songs were called Lieder or strictly Kunstlied by Schubert,

Schumann, Brahms, et al. In France, art songs are named Mélodie while they are Romans in Russia and Art Antiche in Italy.1 The term Art Songs first appears in China in the 1920s which was translated from Germen “Kunstlied” by Xiao Youmei.2 The Chinese name of

Art Songs is Yishu Gequ (艺术歌曲).

According to the book, Collection of Chinese Art Songs, the definition of Chinese art songs is:

“Art songs composed by Chinese composers are based on Chinese national rhyme with independent and artistic accompaniment. Texts of Chinese art songs are usually selected from Chinese poems. Chinese art songs highlight the combination of Chinese and western compositional techniques, the expression of sincere and deep emotion, the delicate and perfect structure, and the unique charm within Chinese music.”3

1 Yu, “On the Different Phases,” 2. 2 Xiao Youmei (萧友梅) was one of the first-generation composers in Chinese art songs who once studied compositions in Germany. 3 Zhang and Mao, “Collection of Chinese Art Songs,” 35 1

Therefore, Chinese art songs are composed by Chinese composers. They are usually based on the combination of Chinese and western musical elements, but also exhibit Chinese national styles.4 The choice of melody and the settings of tonal structures and harmonies reflect Chinese composers’ efforts to express the compositional characteristics in Chinese musical culture and give their art songs a strong national identity.5

Similar to western art songs, poems are the main source of texts for Chinese art songs. A large number of Chinese poems have been written over the course of 2,500 years.

These poems were composed by different poets under different situations and offer a wealth of imagery and insight into Chinese history. Chinese composers have and will continue to draw inspiration from these profound texts.

4 Zhang, “Historic Development,” 27-28. 5 Zhang, “Historic Development,” 39-41. 2

1.2. Historic Development of Chinese Art Songs

The development of Chinese art songs can be divided into two periods: the ancient period and the modern period. The earliest songs designated as art songs date back 2,500 years.6 These songs consist of ancient poems for texts and ancient Chinese instruments for accompaniment, such as Guqin, Guzheng, Pipa (Chinese Lute).7 They are considered the earliest format of Chinese art songs, although no one formally named them “Chinese art songs”. For example, the text of the well-known song “Yangguan Sandie” is chosen from the poem, “Song Yuanershi Anxi”, and is accompanied by Guqin.8 It is similar to many modern Chinese art songs, and even some western art songs.

6 Huang, “Comparison of Art Songs,” 10. 7 Traditionally, in ancient China, Guqin was simply named as the “Qin” (琴). It belongs to the Chinese zither family with plucked seven strings. It is divided into different instruments since the 20th century. Guzheng, also known as the Chinese zither, is another Chinese plucked string instrument. Pipa is another kind of Chinese plucked instrument with the shape of pear. It has been played for more than 2, 500 years. 8 The poem “Song Yuanershi Anxi” 《送元二使安西》was written by Wang Wei who was a famous poet in Tang Dynasty. 3

Figure 1: The historic development of Chinese art songs. The second developmental period of Chinese art songs is from 1898 to today, which can further be divided into four sub-periods: 1898-1919, 1920-1949, 1950-1977, 1978 to today.9 Shown in Fig 1, the development of Chinese modern art songs was often dependent on world events.

§ 1898-1919 (Xuetang Yuege)

In the late 19th century, the Qing government began to lockdown the country when western culture, politics, and economic policies were brought to the Qing Dynasty. The governors of the Dynasty rejected most western elements because they believed Qing was the strongest and the most powerful country in the world. However, two Opium Wars helped the Qing government recognize its place in the world, and more and more western elements were adopted.10 Because of these western elements, Chinese music also began to change. A new kind of musical style became popular that was different from Chinese traditional music. At that time, “Xuetang Yuege” was the main artistic form used to spread

9 Huang, “Comparison of Art Songs,” 11. 10 Zhong, “The Influence of the May Forth,” 3. 4 this kind of foreign musical style.11 For example, the score used in “Xuetang Yuege” changed from Chinese traditional Gongchi notation to that of western music.12

Figure 2: Gongchi notation for Chinese song, “Zhe Gu Tian.”13 Many composers also began to set Chinese poems to existing western music. For example, Li Shutong’s art song, “Songbie”, was adapted from “Dreaming of Home and

Mother,” by American composer J.P Ordway.14 When Li Shutong composed this song, he focused on combining the original music with Chinese ancient poems and piano accompaniment, which was seen as a novel trial. At the same time, basic musical theories and compositional techniques began to spread through “Xuetang Yuege”.15 Some musical teachers in “Xuetang Yuege” also tried to compose new music to combine with these new

11 The early development of “Xuetang Yuege” began in 1989, but was abandoned in 1915. “Xuetang” means classes while “Yuege” means good music. It refers to music or songs which were composed during the “Xuetang”. Refer to Sun and Zhou, “General History of Chinese Music,” 35. 12 Yu, “On the different phases,” 4-5. 13 Gongchi notation is an ancient way to notate Chinese music. Some Chinese characters are used to notate the pitches, such as Gong (工), Chi (尺), He (合), Si (四), etc. This song “Zhe Gu Tian” 《鹧鸪天》was composed by Yu Pingbo in 1978. In this song, Yu used traditional Gongchi notation to notate the pitches. 14 Yu, “On the different phases,” 5. 15 Ding, “Open Your Eyes,” 84-87. 5 modern poems. For example, Li Shutong composed the music and wrote the text for his

“Travelling in Spring”.16 This song was composed according to western compositional techniques, such as harmony and accompaniment.

Therefore, the early “Xuetang Yuege” is considered to be the beginning period of

Chinese modern art song. The appearance of “Xuetang Yuege” not only provided the encouragement for composing Chinese art songs, but also set the foundation for the further development of Chinese art songs.

§ 1920-1949

Beginning in the 1920s, Chinese composers lost their interest in the compositional practice of contrafactum. In addition, an increasing number of composers who studied composition abroad (e.g. Germany, France, Japan) returned to China and devoted themselves to the creation of new Chinese music.17 Accordingly, composers such as Qing

Zhu, Xiao Youmei and Zhao Yuanren attempted to create new compositional styles.18 Qing was considered the earliest composer of Chinese art songs, having written his first art song,

“Dajiang Dongqu”, when he studied in Germany.19 In this song, Qing chose Su Shi’s poem,

“Nian Nu Jiao - Chibi Huaigu” as the text. Following this, other composers began to compose new Chinese art songs, such as Zhao Yuanren.20 His songs are characterized with distinctive national features. For example, he attempted to combine Chinese folk tunes (e.g.

16 Feng, “Collection of Li Shutong’s songs,” 76. 17 Deng, “In the 20th Century,” 9. 18 Yu, “On the different phases,” 7. 19 Yu, “On the different phases,” 14-15 20 Liao, “Biograph of Xiao Youmei,” 41-42. 6

Kunqu) with western harmonic compositional techniques.21 Many of his art songs are more advanced than those during the period of “Xuetang Yuege”. Accordingly, this decade was seen as the early exploratory period of Chinese modern art songs.

The next decade was considered to be the mature and brilliant period of Chinese art songs, which saw large numbers of noteworthy songs being composed. More importantly, some emerging composers became the leaders of musical composition at that time, such as

Ying Shangneng and Huang Zi. Their compositional techniques in art songs became more mature. In addition to inheriting the previous compositional styles, they further strengthened and highlighted the importance of Chinese musical elements (e.g., tune, harmony, melody) and poems in Chinese art songs.22 They strove to develop native art songs by employing western compositional techniques while combining them with Chinese national musical culture.

Before the formation of the People’s Republic of China (1949), there were also many classic modern Chinese art songs composed by excellent composers including He

Lvting, Xian Xinghai, Nie Er. During this time, art songs mainly were composed to promote anti-war sentiments, but actually inspired most Chinese people and armies to fight and win the wars. For example, He Lvting composed “Jialing Jiangshang” to express his sadness about land occupation and broken families during the period of the Japanese occupation and his strong hatred of the invasion.23

21 Kunqu (昆曲), also named as Kun Opera, is one of the oldest operas in Chinese music history. It is similar as Peking opera (京剧) with different tunes. 22 Zhao, “Chinese Art Songs,” 10. 23 Yu, “On the Different Phases,” 20-21. 7

§ 1950-1977

After the formation of the People’s Republic of China, the development of Chinese art songs began to slow. Some composers transitioned to compose works for chorus that expressed the people’s power after war. The newly-established government required all culture and art to serve politics, which severely limited the composition of art songs. This resulted in composers only setting President Mao’s poems in their songs. For example,

Mao’s poem, “Die Lian Hua - Da Li Shuyi”, was used as the text for songs by several different composers, including Li Jiefu, Zhai Xixian, and Zhao Kaisheng.24

The Cultural Revolution made it dangerous to compose new art songs.25 Fewer composers dared to compose art songs because western compositional techniques were forbidden. The well-known art song was “Qiannian Tie Shu Kai Le Hua” composed by

Shang Deyi. 26 Therefore, the Culture Revolution was the darkest period for Chinese modern art songs.

After the Culture Revolution, with the gradual elimination of ideological constraints, composers began to create art songs again. Some composed songs to commemorate Zhou Enlai.27 These songs include Shi Guangnan’s “Prime, Where Are

24 Ma, “Comparison of Huang,” 3-4. 25 Culture Revolution (1966-1969, 文化大革命) was one of the darkest period in modern Chinese history. It was a struggle inside the Chinese Communist Party (CCP) which then affected the whole country. During Culture Revolution, anything with western elements was rejected, including cultures and arts. Refer to Spence, “The Search for Modern China,” 604-621. 26 Yu, “On the different phases,” 28. 27 Zhou Enlai (周恩来, 1898-1976) was the first prime of People’s Republic of China. 8

You”, Qin Yongcheng’s “If I Was A Swan Goose”, and Shi Wanchun’s “Give You the

Miss in My Heart”.28

§ 1978-today

1978 is an important year in the history of modern China. The government proposed the new policy, Chinese Economic Reform. 29 It not only prompted rapid economic development, but also led to the second flourishing period for the composition of Chinese art songs. Since the Chinese Economic Reform, many representative composers became active in writing Chinese art songs, including Li Yinghai, Ye Xiaogang, and Wang Di.30

The texts and music they chose for their compositions became more diverse, using more varied compositional techniques, and exhibited their personalities in their compositions.

Over a span of 120 years, modern Chinese art songs experienced four main periods, including a starting period (1898-1919), two flourishing periods (1920-1949 and 1978 - today), and a silent period (1950-1977). Each period includes some specific Chinese historic events that affected the composition of modern Chinese art songs. However, emerging Chinese composers are using not only western compositional techniques, but also their own national features in their compositions. The combination of western compositional techniques and Chinese native elements makes modern Chinese art song one of the most important genres in Chinese music.

28 Yu, “On the different phases,” 29. 29 Naughton, “Growing out of the Plan,” 20-23. 30 Yu, “On the different phases,” 34-39. 9

Chapter 2. Huang Zi

2.1. Huang’s life and career

Huang Zi was the representative of Chinese composers and Chinese art songs in the 1930s. He was also one of the most famous musical theorists and educators in modern

Chinese music history. As a composer, he wrote many classical works that are still popular today. He used western compositional techniques that originated from what he learned at

Oberlin College and Yale University. He combined these techniques with Chinese native elements - a technique that still is followed by emerging generations of Chinese composers.

As a musical theorist and educator, Huang spent most of his time teaching courses in music theory and composition. Some of his students, like He Lvting, Jiang Dingxian, Chen

Tianhe, and Liu Xuean, became the leaders in Chinese art song after him. In 1938, Huang died of typhoid fever in Shanghai.31 Although his lifetime was short, he was the core figure of composing Chinese art songs in the 1930s and also a representative in the history of

Chinese art songs.

§ Early life (1904-1924)

31 Qian, “Huang Zi’s Life and Compositions,” 112. 10

Huang Zi, also called Jinwu, was born in Chuansha (Shanghai, China) in 1904. His father, Huang Hong founded and managed a towel factory; his mother, Lu Meixian, was an intellectual with political integrity. A positive family environment gave him a strong education in traditional Chinese culture. When he was a child, he often heard his mother singing Chinese folk songs, reading Chinese ancient poems, and telling the story of

“Twenty-four Xiao.”32 His love for songs and poems had a significant influence on his further musical compositions.

In 1911, Huang entered Shanghai Elementary School where he was always the top in his class. In 1912, he transferred to Pudong Elementary School and continued to study there until he graduated in 1916. Huang recalls the scene when he was in elementary school, saying:

“When I was 7 years old, I joined in Shanghai Preliminary School. I still remember the first lesson was singing and my teacher taught us to sing ‘Song of Selling the Flowers’. I spent five years in preliminary school, during which time I learned at least 50-60 songs. Because I loved singing when I was a child, I can sing every song very well and I still can remember most of them now.”33

In 1916, Huang was accepted into Tsinghua College where he began to learn western music. He joined the Tsinghua Boy Scout Drum Group, played clarinet in the

Tsinghua Orchestra, and sang as a tenor in the Tsing chorus.34 In 1921, Huang began to learn piano and started to learn western compositional practice in following year. These

32 Lu, “Studies the Characters,” 5-7. 33 Ma, “Singing Style,” 7. 34 Ma, “Singing Style,” 8. 11 experiences helped him build a solid foundation for his further development as a professional musician and composer.

§ Life in the USA (1924-1929)

In the autumn of 1924, at the age of 20, Huang graduated from Tsinghua College and was awarded the national scholarship to study in the United States. But there was no option to have a music major with the national scholarship. Huang, therefore, chose the major in Psychology at Oberlin College while studying music as a non-major student. In

1926, he graduated from Oberlin and received his bachelor’s degree. After his graduation, he continued to learn music theory and composition at Oberlin. Two years later, he transferred to Yale University, graduating with a master’s degree in 1929.35

During his time in the USA, he composed several works, including solo songs

(“Sweet Wine” and “Song of Given Tart”), choral settings (“Four-part harmony Fugue” in

G major), Chamber music (unfinished “String Quartet” in d minor), and eight polyphonic works for piano, and orchestra overture (“Nostalgia”). “Nostalgia” was seen as the first large orchestra work in China that was completed and first performed in Huang’s graduate concert in Yale University in 1929.36 This work is filled with sincere and deep emotion.

§ Back to China (1929-1938)

35 Qian, “Huang Zi’s Life and Compositions,” 53. 36 Qian, “Huang Zi’s Life and Compositions,” 55-57. 12

In 1929, Huang returned to China and was hired as an instructor in Hujiang

University, Shanghai. In the next year, he was employed as the full-time instructor and the director in the field of music theory and composition in the National Academy of Music.37

On December 24th of that year, Huang married Wang Yinian. After returning to China, he devoted himself to music education and composition. During his eight years in the National

Academy of Music, he served as an instructing director and also taught courses in music theory and composition. Some of his students became very famous, including He Lvting,

Jiang Dingxian, Chen Tianhe, Liu Xuean, Tan Xiaolin, Qian Renkang, and Zhang Ding.38

After Huang returned to China, imperialist aggression was becoming increasingly rampant and the Chinese nation was in danger. In 1931, after the “9.18 Incident”, Huang composed some patriotic songs to inspire the Chinese people to fight against imperialism, including “Kang Di Ge”, “Fluttering Flag”, “9. 18 Incident”, and “Sleeping lion”.39 Most of these songs were performed widely and had a significant influence on society. Later, he collected “Kang Di Ge” and “Fluttering Flag” together with “Army Song”, “Qingtian Bairi

Mandihong”, and “Dedication to National Day” into his The Collection of Patriotic Choral

Songs, which was then published by Shanghai Commercial Press in 1934. Huang’s patriotic songs are characterized with march-like rhythms and are mostly set in major keys.

These works not only represent Huang’s artistic achievement, but also the choral songs

37 Xu, “Studies of Huang Zi’s Art Songs,” 11. 38 He Luting, Jiang Dingxian, Chen Tianhe, and Liu Xuean were four of Huang’s most famous students who were also seen as main leaders in Chinese music history. 39 “9.18 Incident” is also called “Mukden Incident”. On September 18th of 1931, a small group of Japanese armies broken a railway near Mukden (now Shenyang). Then, they lied and accused that Chinese people did that. By this excuse, they began to invade the northeast land of China and established their puppet state there. In modern Chinese history, “9.18 Incident” indicates the complete invasion of Imperial Japanese Army. 13 written after the “May Fourth Movement”.40 At the same time, he also composed a cantata

(“Everlasting Regret”) and some lyric art songs (including “Missing Homeland”, “Spring

Nostalgia”, and “Three Wishes of Rose”). These three arts songs comprise his collection,

Spring Nostalgia, which was published by Shanghai Commercial Press. This is also

Huang’s first song collection in 1933.

40 “May Fourth Movement” was an anti-imperialist, cultural, and political movement on May 4th of 1919 in China. In 1919, China along with other countries won the first World War. However, as a winning country, China was still divided and occupied by other countries according to the Treaty of Versailles. Then, Chinese students began to protest against the Chinese government’s weak response about the treaty on May 4th of 1919. 14

2.2. Introduction to Huang’s Works

During his lifetime, Huang composed many popular works in different genres and for varied performers, including orchestral works, cantatas, choruses, chamber music, and art songs.41 When he studied in the United States, he composed his first orchestral work

“Nostalgia” in memory of his girlfriend, Hu Yongfu.42 On May 31st of 1929, this work was performed by the Yale University Symphony Orchestra, conducted by Huang’s advisor

David Daniel Smith, in his graduate concert43. This work is also considered as the first known symphony composed by a Chinese composer.

“Everlasting Regret” is the earliest cantata in China, which was composed by

Huang Zi using texts by Wei Hanzhang in 1932-1934. It is the first large work composed by Huang after he returned to China and is the only large vocal work in his short lifetime.

This cantata can be divided into ten movements, seven of which were completed by Huang, while the fourth, seventh, and ninth movements remain unfinished.44 Although unfinished, this work still has a profound influence in Chinese music history. This work showcases

Huang’s talent and ability in composing large vocal works and his compositional experience in combining the elements from both Chinese and Western music. The composition “Everlasting Regret” not only plays an important role in the artistic

41 Xu, “Studying Huang Zi’s Art Songs,” 5. 42 Lian, “Studying the Harmonic Techniques,” 13. 43 Lian, “Studying the Harmonic Techniques,” 14-15. 44 Zhang, “Structural Art of Huang Zi’s Cantata,” 96-97. 15 achievements of Huang Zi, but also becomes a classic composition in modern history of

Chinese music.

After the “9.18 Incident”, the Japanese Army invaded China. As a musician, Huang and his students composed patriotic songs, such as “Song of Anti-enemy,” to inspire the

Chinese people and soldiers to fight against the Japanese invaders. After Jan 28th of 1932,

Shanghai was invaded and attacked by the Japanese army. Huang composed the song

“Zeng Qiandi Jiangshi” and gave it to all the generals and soldiers of No.19 Army to fight against Japanese invaders. After that, he continued to compose another choral work,

“Fluttering Flag,” with a text by Wei Hanzhang. At the same time, he composed other patriotic songs, such as “Sleeping Lion”, “9.18 Incident”, and “Song of Hot Blood”. He composed “Kang Di Ge” during the time of the “Double-Seven Incident”.45 When he composed this song, he once said:

“Now I am composing the songs to inspire the Chinese people. I hope I can continue to compose the songs to celebrate the victory of this war soon.”46

In addition, art songs are also valuable among all Huang’s compositions. His art songs are characterized by the poetry he chose to set, colorful harmonies, and multiple compositional techniques. He expertly combined the poems and his music in an attempt to emphasize the inner meaning. His songs not only are fluid and simple, but also colorful and exquisite in emotion.

45 “Double-Seven Incident”, also named “Lugou Bridge Incident” happened on July 7th, 1937 in Beiping (now Beijing), which indicates the complete outbreak of the War of Resistance against Japan. 46 Lian, “Studying the Harmonic Techniques,” 9-10. 16

2.3. Characteristics of Huang’s Art Songs

§ National styles

Huang was one of Chinese first-generation composers who systematically mastered western compositional techniques and dedicated himself to combine them with Chinese traditional music. In 1934, Huang said:

“What we need now is to learn western music so that we can use it to study and collect our traditional music and folks, which can generate our new national music.”47

Huang added the elements of Chinese traditional music and culture to his compositions which otherwise were based on western compositional techniques. It is a novel trial and shows Huang’s significant influence over Chinese contemporary music history.

For melody, Huang employed pentatonic tunes (Gong, Shang, Jue, Zhi, and Yu) from Chinese traditional music, 48 which makes his art songs full of nationalistic sentiments.49 Hence, Huang’s attempt in melody was considered to be creative during that time.

47 Ma, “Singing Style and Feature,” 17. 48 Li, “Analysis of Huang Zi’s Three Art Songs”, 2. 49 Xu, “Studies of Huang Zi’s Art Songs”, 19. 17

That aside, he also tried to create simple, functional harmonies and adapt them with

Chinese national tunes in pentatonic scales. In his “Flower in the Mist”, the harmony proceeds in I-VI-I (Fig 3). In addition, Huang used pentatonic D Gong tone, which is a kind of Chinese national tune cast in the pentatonic scale. (Fig 3).50

D Gong I VI I Figure 3: m. 1 - m. 3 from ‘Flower in Mist.”

§ Piano accompaniment and harmony

Huang had his own ideas of using piano accompaniment and harmony in his art songs. In his “Missing Homeland” and “Spring Nostalgia”, he used the piano accompaniment and harmonic techniques to express the artistic conceptions in these texts.51 For example, in his “Spring Nostalgia”, Huang used a repeated triplet pattern in the right hand to represent the rain drops on the stone (Fig 4). In “Missing Homeland”, the contrapuntal lines of the piano part are, likely, intended to represent the calls of the cuckoo

(Fig 5).

50 Xie, “Compositions of Huang’s Art Songs,” 17. 51 Li, “Analysis of Huang Zi’s Three Art Songs”, 3-5. 18

Figure 4: m. 1 - m. 3 in “Spring Nostalgia.”

Figure 5: m. 13- m. 15 in “Missing Homeland.”

§ Texts for art songs

Poetry has been written in China from ancient to modern times, and texts for

Chinese art songs in the early 20th century mostly were chosen from this vast collection.

Huang’s deep literary knowledge helped him to select exceptional texts for his songs based on ancient and modern Chinese poems.

Huang analyzed the different cultures, music, and aesthetics between China and western countries and sought to combine elements of both.52 He deeply understood the

52 “Huang Zi Yi Zuo Ji,” 56. 19 meaning of the poems he selected and emphasized their inner emotions when he set them to music. His art songs can arouse the audience’s empathy and imagination.

§ Combination of music and poems

Huang’s art songs are characterized by a profound marriage of poetic imagery and music.53 From his art songs, one can appreciate this perfect combination and feel like his music was flowing out from the poems. Huang viewed art song as a genre well suited to combine traditional Chinese music with western compositional techniques. In addition, he studied Chinese poetry, allowing his art songs to bloom with the spirit of innovation.

53 Xie, “Compositions of Huang’s Art Songs,” 17-19. 20

2.4. The influences on Huang’s compositions

§ Chinese society

Although Huang’s life was short, he experienced one of the most turbulent and difficult periods in Chinese history with prolonged domestic strife and foreign aggression.

During this period, China was undergoing a series of important historical events, including the Revolution of 1911, the New Culture Movement, and Japanese Aggression. 54

Consequentially, Chinese people suffered through Imperialism and Feudalism, as well as

Bureaucratic Capitalism. Most Chinese land was occupied by foreign invaders. In the

1920s, Huang saw the darkness of government, social corruption, and aggression of foreign invaders. As a result, he felt deeply helpless and composed “Three Wishes of Rose” to express his hope for a beautiful life and his longing for a peaceful world.55

§ Chinese culture

Huang came from a well-educated family and loved ancient Chinese poetry as a child, and returned to it later in life as inspiration for his songs. Besides that, in the early

1900s, many foreign ideas, cultures, and arts were introduced in China by “Xuetang

Yuege” and “May Fourth Movement” which liberated large numbers of literati, artists, and

54 Spence, “The Search for Modern China,” 275-294, 310, 388. 55 Huang, “Re-creation of Huang Zi’s Three Wishes of Rose,” 4. 21 politicians.56 Composers began to use compositional techniques from western music, often combining it with Chinese traditional music and culture.

56 Sun and Zhou, “General History of Chinese Music,” 16-19. 22

2.5. Significance of Huang’s Compositions

§ Compositional Style

As a representative of Chinese music in the 1930s, Huang built bridges between western and Chinese compositional techniques, music, and culture. He insisted on making the melodies and rhythms of his music align with the rhymes and meaning of the poetry.

Additionally, he attempted to create musical images by using piano as the accompaniment.

More importantly, Huang’s harmonic structure not only exhibited a solid technical foundation, but also demonstrated how it could be combined with the harmonies of national compositions. It provided a treasured experience in its combination of western music techniques and Chinese traditional styles for future composers, especially for art songs.57

Even today, his penchant for using traditional Chinese harmonies and melodies in combination with western compositional techniques is inspiring.

For over half a century, the people’s passion for Huang’s art songs has not decreased. Some of his songs have been included in Chinese music textbooks, and are often heard in vocal competitions, emphasizing his unique aesthetic, advanced compositional techniques, and the significant influence of his art songs.

§ On music education

57 Yin, “Studying the Harmonic Usage,” 11. 23

Huang was one of the most important modern Chinese composers, music theorists, and music educators. He shared his music theory and compositional techniques with his students, who cultivated to become the main leaders of Chinese music after him, including

He Lvting, Jiang Dingxian, Liu Xuean, and Qian Renkang.58 As Liu Xuean described in his memorial:

“Although my teacher Huang Zi had fewer words, he was always humble, kind, and friendly when he taught his students and worked on Chinese music. He always talked a lot about music and proposed many inspiring questions. I can still remember his voice and laugh. In addition to his talent in composition, his professional career spirit also benefits me in my life.”59

Another student Jiang Dingxian described his memorial of his teacher:

“My theory in compositions is completely gained from my teacher, Huang Zi. With him, I learned many courses, including advanced harmony, keyboard, harmony, tonality analysis. He was young with talent and imagination at that time. I still remember his two courses, music history and music literature, were the most popular among his students.”60

In summary, Huang’s compositions are characterized by combining western compositional techniques with Chinese national elements. These works have had a significant influence on Chinese music and cultivated many excellent students in the history of Chinese music.

58 Xu, “Studying Huang Zi’s Art Songs,” 32. 59 Xu, “Studying Huang Zi’s Art Songs,” 35. 60 Xu, “Studying Huang Zi’s Art Songs,” 36. 24

Chapter 3. Introduction to Chinese “Pinyin” System

Chinese is written in specific Chinese characters that do not provide any pronunciation information because they are derived from pictographic or ideographic symbols. “Pinyin” system was developed to help pronounce Chinese characters and is widely used throughout China. “Pinyin” means to join together or spell out the sounds of

Chinese, which represents Chinese sounds in the Roman alphabet. It is designed for

Chinese speakers and those who are learning Chinese pronunciation. In this document,

“Pinyin” system will be used to help pronounce each character in each song. Generally, there are three elements in Chinese “Pinyin” system, initials, finals, and tones. Initials are always on the left while finals are on the right. Tones are only added above the finals.

§ Initials (Consonants)

Table 1: Summary of twenty-one initials in “Pinyin” system.

Unaspirated Aspirated Nasal Voiceless fricative Voiced fricative b ([p]) p ([pʰ]) m ([m]) f ([f]) d ([t]) t ([tʰ]) n ([n]) l ([l]) g ([k]) k ([kʰ]) h ([x]) j ([tɕ]) q ([tɕʰ]) x ([ɕ]) z ([ts]) c ([tsʰ]) s ([s]) zh ([tʂ]) ch ([tʂʰ]) sh ([ʂ]) r ([ɻ])

As is shown in Table 1, there are totally 21 initials in Chinese “Pinyin” system.61

Notice that the consonants “zh”, “ch”, “sh” are different from the consonants, “z”, “c”, “s”.

They are classified as apical post-alveolar which is usually made with the tongue tip close to the post alveolar region.62 When pronouncing these three consonants, it is suggested to involve a retroflex sound [ɹ].63

§ Finals (Vowels)

Table 2: Summary of six basic finals in “Pinyin” system.

Vowel sounds in pinyin (IPA) Description a ([a]) Low a ([ə]) Central o ([ɔ]) Mid-back i ([i]) High-front u ([u]) High-back ü ([y]) High-front

There are six basic vowels in Chinese “Pinyin” system, including “a”, “e”, “i”, “o”,

“u”, and “ü”. Compared to English vowels, the only difference is the addition of vowel

“ü”, such as Lü (驴, donkey). More importantly, the finals in Chinese character is much more complex than the vowels in English word. On the one hand, each vowel can combine with other vowels to generate another thirteen compound finals (below). On the other hand,

61 Sun, “Chinese: A Lingustic Introduction,” 35. 62 The post-alveolar region is usually between the alveolar and the hard palate. 63 Sun, “A Performance Guide,” 45-48. 26 each vowel can combine with nasal initials, “n” and “ng”, to generate sixteen nasal finals

(below).64

o Six simple finals: /a/, /e/, /i/, /o/, /u/, /ü/;

o Thirteen compound finals: /ai/ ([ai]), /ao/ ([ɑʊ]), /ei/ ([ei]), /ia/ ([ja]), /iao/ ([jɑʊ]),

/ie/ ([jɛ]), /iou/ ([joʊ]), /ou/ ([oʊ]), /wa/ ([ua]), /uai/ ([wai]), /üe/ ([œ]), /ui/ ([wei]),

/uo/([wɔ]);

o Sixteen nasal finals: /an/ ([ɛn]), /en/ ([ən]), /ian/ ([jɛn]), /in/ ([in]), /uan/ ([wɛn]),

/üan/ ([ɥɛn]), /un/ ([uən]), /ün/ ([yn]) (Eight front nasals) and /ang/ ([ɑŋ]), /eng/

([əŋ]), /iang/ ([iɑŋ]), /ing/ ([iŋ]), /iong/ ([iɔŋ]), /ong/ ([ɔŋ]), /uang/ ([wɑŋ]), /ueng/

([wəŋ]) (Eight back nasals).

§ Tones

Table 3: Summary of four tones in “Pinyin” system.

Marking Tone Example Description ā 1st mā High level tone á 2nd má High rising tone ǎ 3rd mǎ Falling rising tone à 4th mà Falling tone a - ma Context-dependent tone

Chinese is a tone language with four pitch patterns, or tones. Accordingly, in

Chinese “Pinyin” system, diacritical marks are used on the top of a vowel to indicate the

64 Sun, “Chinese: A Lingustic Introduction,” 36-38. 27 four Chinese tones. Notice the diacritic of a letter may sometimes be absent; that is, only letters appear in a word without any tone, which is called neutral note or the fifth tone by some linguists and scholars.65 In order to compare the Chinese tones, the tone, tone mark, example using tonal mark, and description are summarized in Table 3. In addition, four tones are added above each vowel below:

Vowels with the first tone ā ē ī ō ū ǖ

Vowels with the second tone á é í ó ú ǘ

Vowels with the third tone ǎ ě ǐ ǒ ǔ ǚ

Vowels with the fourth tone à è ì ò ù ǜ

Vowels with the neutral tone a e i o u ü

Another important function of Chinese tones is that tones can change the meaning of the word. Here is an example by using initial “m” and final “a”.

mā má mǎ mà ma

妈麻马骂吗

After combining initial and final, the syllable becomes “ma” ([ma]). By adding the different tone on this syllable, the words are completely changed in writing with different meanings. “ma” with the first tone is “mā”, which may indicate the Chinese character “妈” and “mother” in English. With the second tone, “má” means “麻”, “hemp” in English whereas “mǎ”-“马”-“horse”, “mà”-“骂”-“curse”, and “ma” with neutral tone-“吗”-“ a character for an interrogative sentence”.

65 Sun, “Chinese: A Lingustic Introduction,” 39. 28

Chapter 4. Huang’s Art Songs

4.1. Missing Homeland

1. Background

The text of “Missing Homeland” was chosen from the poem with the same name written by Wei Hanzhang in the spring of 1932. During his lifetime, he wrote more than

500 poems.66 Huang Zi especially appreciated Wei’s poems and called them “poems with music”.67 In 1932, Wei had been working for three years in the Shanghai National Music

Academy, and it had been seven years since he left his hometown. With this long-time absence, Wei felt bored and lonely, except when he was teaching. This poem represents

Wei’s loneliness and longing for his hometown.

At this same time, China was invaded by the Japanese Army and lost most of its land. Many families were broken apart and large numbers of people became homeless.

Under these circumstances, Huang composed the music for this poem reflecting his deep

66 Wei Hanzhang (韦瀚章, 1905-1993) was the first-generation master in composing poems for modern songs. 67 Huang, “Compositions of Mr. Wei Hanzhang’s poems”, 17-19. 29 emotion of missing his “homeland”. In this song, Huang’s “homeland” means Chinese land and people.68 He used his music to express his sadness, pitifulness, and wish.

2. Translation

Liǔ Sī Xì Lǜ [ljoʊ] [si] [ɕi] [ly] 柳丝系绿， Willow twigs are green (The willow wigs are green and charming,)

Qīng míng Cái Guò Liǎo [tɕʰiŋ] [miŋ] [tsʰai] [kwɔ] [ljɑʊ] 清明才过了， Qingming Festival just passed (Qingming Festival just passed,)

Dú Zì Gè Píng Lán Wú Yǔ [tu] [tsi] [kə] [pʰiŋ] [lɛn] [wu] [jy] 独自个凭栏无语。 Alone lean rail silently (I lean by the rail alone silently.)

Gèng Nǎ Kān Qiáng Wài Juān Tí [kəŋ] [na] [kʰɛn] [tɕʰjɑŋ] [wai] [tɕɥɛn] [tʰi] 更哪堪墙外鹃啼, But bear wall outside cuckoos crow (I can’t bear the cuckoos crowing outside the wall,)

Yì Shēng Shēng Dào [ji] [ʂəŋ] [ʂəŋ] [tɑʊ] 一声声道, Repeatedly say (They are saying repeatedly,)

Bù Rú Guī Qù [pu] [ɻu] [kwei] [tɕʰy] 不如归去!

68 Xu, “Exploring Cige, Quyun, and Yiyun,” 2. 30

Better to go back! (You’d better go back home!)

Rě Qǐ Lè Wàn Zhǒng Xián Qíng [ɻə] [tɕʰi] [lə] [wɛn] [tʂɔŋ] [ɕjɛn] [tɕʰiŋ] 惹起了万种闲情， Evoking various emotions (It causes various emotions in my heart,)

Mǎn Huái Bié Xù [mɛn] [xwaɪ] [bjɛ] [ɕu] 满怀别绪， Full of sorrow of separating (My heart is full of the sorrow of separating,)

Wèn Luò Huā [wən] [lwɔ] [xwa] 问落花： Ask falling flowers (I ask the falling flowers:)

Suí Miǎo Miǎo Wēi Bō [swei] [mjɑʊ] [mjɑʊ] [weɪ] [pɔ] 随渺渺微波 Following countless slight water wave (If I follow the countless moving water wave,)

Shi Fǒu Xiàng Nán Liú [ʂi] [foʊ] [ɕjɑŋ] [nɛn] [ljoʊ] 是否向南流？ Whether to south flow (Can I flow toward the south?)

Wǒ Yuàn Yǔ Tā Tóng Qù [wɔ] [jɥɛn] [jy] [tʰa] [tʰɔŋ] [tɕʰy] 我愿与他同去! I will along with him together go (I will be very happy to go with him together!)

3. Text analysis

During the time of Qingming Festival, a person stands and slightly leans by the railing alone.69 When he sees the swaying willows in the wind and hears the crows from the cuckoos again and again, he feels sad and lonely. The poet uses the technique of personification, especially for the crowing of the cuckoos. The cuckoo’s crowing encourages him to go back to his homeland. That person continues to ask the falling flowers if he should go back home with the flowing water. Here, “falling flowers” also reflect the sadness. Finally, he decides to go with the flowing water which indicates his deep hope to go back to his homeland. Throughout this poem, the poet uses different elements to express his sadness, his missing, and his hope, including wickers, crows of cuckoos, falling flowers, and flowing water.

69 Qingming Festival (清明节) is a traditional festival in China in memorial of the people who passed away. It is on April 4th of each year. 32

4.2. Spring Nostalgia

1. Background

“Spring Nostalgia” is another poem written by Wei Hanzhang and set to music by

Huang Zi. This poem is featured with strong rhymes – the syllable “-an” (Qián, Mián, Qiǎn, etc), which follows the rule of rhyme in Chinese ancient poems. When composing music for this poem, Huang used the musical elements to match poetic imagery. For example, he used different rhythms and melodies to indicate the changing emotions of the character in

Wei’s poem.

2. Translation

Xiāo Xiāo Yè Yǔ Dī Jiē Qián [ɕjɑʊ] [ɕjɑʊ] [jə] [jy] [ti] [tɕjɛ] [tɕʰjɛn] 潇潇夜雨滴阶前 whistling night rain drops step front (It rains all the night slight, but the rain drops on the stone steps.)

Hán Qín Gū Zhěn Wèi Chéng Mián [xɛn] [tɕʰin] [ku] [tʂən] [weɪ] [tʂʰəŋ] [mjɛn] 寒衾孤枕未成眠 cold quilt lonely pillow can’t fall asleep (The quilt is cold, and I can’t fall asleep with this lonely pillow.)

Jīn Zhāo Lǎn Jìng [tɕin] [tʂɑʊ] [lɛn] [tɕiŋ] 今朝揽镜， Today morning take mirror (This morning, I took the mirror and looked myself in the mirror.)

Yīng Shì Li Wo Qiǎn [jiŋ] [ʂi] [li] [wɔ] [tɕʰjɛn] 应是梨涡浅 should be less laugh (There should be less smile on my face.)

Lǜ Yún Yōng Lüè [ly] [jyn] [jɔŋ] [lɥœ] 绿云慵掠， Green cloud lazily comb (I am so lazy to comb my hair,)

Lǎn Tiē Huā Diàn [lɛn] [tʰjɛ] [xwa] [tjɛn] 懒贴花钿 Lazily attach ornament (And I am even unwilling to put beautiful ornaments on my hair)

Xiǎo Lóu Dú Yǐ [ɕjɑʊ] [loʊ] [tu] [ji] 小楼独倚， Little house lonely lean (I lean lonely on my little house)

Pà Dǔ Mò Tóu Yáng Liǔ [pʰa] [tu] [mɔ] [tʰoʊ] [jɑŋ] [ljoʊ] 怕睹陌头杨柳 Afraid see along the street willows (I am afraid to see the willows along the street)

Fēn Sè Shàng Lián Biān [fən] [sə] [ʂɑŋ] [ljɛn] [pjɛn] 分色上帘边， Share color beside the window (To share their green color to the tress beside the window)

Gèng Dù Shà Wú Zhī Shuāng Yàn [kəŋ] [tu] [ʂa] [wu] [tʂi] [ʂwɑŋ] [jɛn] 更妒煞无知双燕， More jealous ignorant a couple of cuckoos (I am more jealous about a couple of ignorant cuckoos.)

Zhī Zhī Yǔ Guò Huà Lán Qián 34

[tʂi] [tʂi] [jy] [kwɔ] [xwa] [lɛn] [tɕʰjɛn] 吱吱语过画栏前， Chirping flying over handrails front (They are chirping and flying over the handrails,)

Yì Gè Láng Yuǎn Bié Yǐ jīng Nián [ji] [kə] [lɑŋ] [jɥɛn] [pjɛ] [ji] [tɕiŋ] [njɛn] 忆个郎远别已经年， Miss my lover far away already for years (I am missing my lover who has already been away from me for several years,)

Hèn Zhǐ Hèn Bù Huà Chéng Dù Yǔ [xən] [tʂi] [xən] [pu] [xwa] [tʂʰəŋ] [tu] [jy] 恨只恨，不化成杜宇， Hate only Hate note become a cuckoo (I only wish to become a cuckoo,)

Huàn Tā Kuài Zhěng Guī Biān [xwɛn] [tʰa] [kʰwaɪ] [tʂəŋ] [kwei] [pjɛn] 唤他快整归鞭。 Call him quickly prepare return horsewhip (To call him to prepare his horsewhip quickly and return back home soon.)

3. Text analysis

This poem depicts the rain on an early spring night. A lonely woman cannot fall asleep, and does not want to make up in the morning because she is missing her lover who is far away. The poem describes the lively scene of spring with raining, a warbler singing, a swallow dancing, and the loneliness of that woman.70 In the stanza “Yi Ge Lang Yuan

Bie Yi Jing Duo Nian”, Wei explains that her lover has been away for a long time; therefore, she is very sad. In the last two stanzas, the woman wishes to fly towards her lover like a cuckoo and asks him to come back home soon.

70 In Chinese ancient poems, this technique is called “using beautiful scenes to reflect the bad emotion”. The more beautiful the scenes are, the worse the emotion would be. It is also used in modern poems. 35

By using different scenes (rain, willows, crowing of cuckoo, etc), Wei shows a lonely woman misses her lover who has been away for a long time, as well as her wish to ask her lover to come back soon.

4.3. Three Wishes of Rose

1. Background

The text of Huang’s “Three Wishes of Rose” was written by Long Muxun (1902-

1966). He was one of the most famous modern Chinese poets and was the literary teacher at the National Academy of Music. In 1932, Long went back to school. After seeing many roses falling down and lying on the ground, he felt so sad that he wrote this poem, personifying the rose as a human. He used the tragic situation of the rose to express the pain caused by the war and his hope for a beautiful future.

In the same year, Huang composed this “Three Wishes of Rose” with violin and piano accompaniment. After the “9.18 Incidence”, China was suffering from Japanese invasion and lost most of the land. The country was divided, and many Chinese people became homeless. Huang felt sad about his country and his people. In this “Three Wishes of Rose”, Huang used the imagery of the roses to express his anger and sadness during the war. He also conveyed his desire for a beautiful life.

2. Translation

Méi Guì Huā Méi Guì Huā Làn Kāi Zài Bì Lán Gān Xià [meɪ] [kwei] [xwa] [meɪ] [kwei] [xwa] [lɛn] [kʰai] [tsai] [pi] [lɛn] [kɛn] [ɕja] 玫瑰花，玫瑰花, 烂开在碧栏杆下 Rose rose blossom under garden rail (I am a rose blossoming under the garden rail.)

Méi Guì Huā Méi Guì Huā Làn Kāi Zài Bì Lán Gān Xià [meɪ] [kwei] [xwa] [meɪ] [kwei][xwa] [lɛn] [kʰai] [tsai] [pi] [lɛn] [kɛn] [ɕja] 玫瑰花，玫瑰花, 烂开在碧栏杆下 Rose rose blossom under garden rail (I am a rose blossoming under the garden rail.)

Wǒ Yuàn Nà Dù Wǒ Dē Wú Qíng Fēng Yǔ Mò Chuī Dǎ [wɔ][jɥɛn] [na] [tu] [wɔ] [tə] [wu] [tɕʰiŋ] [fəŋ] [jy] [mɔ] [tʂʰwei] [ta] 我愿那妒我的无情风雨莫吹打 I wish that jealous pitiless rain wind won’t blow hit (I wish the pitiless rain and wind won’t blow and hit me because of their jealousness,)

Wǒ Yuàn Nà ài Wǒ Dē Duō Qíng Yóu Kè Mò Pān Zhāi [wɔ] [jɥɛn] [na] [ai] [wɔ] [tə] [twɔ] [tɕʰiŋ] [joʊ] [kʰə] [mɔ] [pʰɛn] [tʂai] 我愿那爱我的多情游客莫攀摘 I wish that love my amorous tourists won’t climb pick (I wish those amorous tourists who love me won’t pick me up,)

Wǒ Yuàn Nà Hóng Yán Cháng Hǎo Bù Diāo Xiè [wɔ] [jɥɛn] [na] [xɔŋ] [jɛn] [tʂʰɑŋ] [xɑʊ] [pu] [tjɑʊ] [ɕjɛ] 我愿那红颜常好不凋谢 I wish that flowers always good won’t wither (I wish all my roses remain good and never wither,)

Hǎo Jiāo Wǒ Liú Zhù Fāng Huá [xɑʊ] [tɕjɑʊ] [wɔ] [ljoʊ] [tʂu] [fɑŋ] [xwa] 好教我留住芳华 To let me keep youth (So, it can let me keep my youth and beauty.)

3. Text analysis

In this poem, Long employs personification to express his emotion by depicting the roses. In the first stanza, the poet describes a beautiful scene where many roses are blooming. The phrase “Lan Kai” highlights the beauty of rose. A repetition in the second stanza highlights the beautiful scene described in the first stanza. Beginning in the third stanza, Long uses three “Wo Yuan (I wish)” to directly exhibit three wishes of rose: no

38 blowing by rain and wind, no picking by tourists, and no withering. In its first wish, the word “Du (jealous)” reflects the helplessness of rose. The rain and wind are jealous of its beauty so that they blow and hit it. In its second wish, the word “Ai (love)” reveals her sadness because of the tourists’ picking which also reflects her beauty. Some scholars explain that Long metaphorically describes the difficult situation in China at that time.71

Roses represent the Chinese people who were suffering under Japanese oppression and their hope for a more peaceful and prosperous life.

The roses continue to express its third wish - I wish all my roses will never wither where emotion reaches the peak. Finally, it sighs - It can therefore let me keep my beauty and youth. In the last stanza, the phrase “Fang Hua (beauty and youth)” expresses the strongest wish of rose and also implies that Chinese people were looking forward to a better life. This poem begins with the beautiful blossom of rose, continues with its three wishes, and ends with its wish of beauty and youth forever.

71 Zhan, “A Brief Analysis,” 5. 39

4.4. Flower in the Mist

1. Background

The text of this song was selected from Bai Juyi’s poem collection, Changqing

Collection.72 Changqing Collection is his most famous work, with a total of 71 volumes.

He wrote many poems about his experiences and people’s pain during his time. Bai Juyi’s poetry had a significant influence on the generations that followed.

Huang composed this song in 1933. China and the Chinese people were suffering from the invasion of Japanese army in the 1930s. During this period, some composers chose ancient Chinese poems as texts for their art songs that reflected the problems they encountered and expressed their emotions. Huang composed the music for this poem to show the Chinese people’s helplessness to the reality and their dream for a beautiful life.

2. Translation

Huā Fēi Huā Wù Fēi Wù 花非花，雾非雾 [xwa] [fei] [xwa] [wu] [fei] [wu] Flower not flower mist not mist (It seems like flowers, but not flowers; It also seems like mist, but not mist)

Yè Bàn Lái Tiān Míng Qù [jɛ] [pɛn] [lai] [tʰjɛn] [miŋ] [tɕʰy] 夜半来，天明去

72 Bai Juyi (白居易, 772-864), also named Letian, was one of the most renowned poets in Tang Dynasty. In this lifetime, he composed more than 2, 000 poems. 40

Mid-night come dawn leave (It comes at midnight, but leaves at dawn)

Lái Rú Chūn Mèng Bù Duō Shí [lai] [ɻu] [tʂʰuən] [məŋ] [pu] [twɔ] [ʂi] 来如春梦不多时， Come like spring dream not long (It is like the spring dream when it comes, but it does not last for a long time)

Qù sì Zhāo Yún Wú Mì Chù [tɕʰy] [si] [tʂɑʊ] [jyn] [wu] [mi] [tʂʰu] 去似朝云无觅处 Go like morning clouds no find place (It goes like morning clouds, but it cannot be found anywhere)

3. Text analysis

This text is compiled from sections of Bai’s Changqing Collection, which consists of four sentences with three characters in the first two stanzas and seven characters in the last two stanzas. When initially reading this poem, one may think that the poet is describing scenes, such as flowers, fog, night, spring dream, and clouds in the morning. However, after exploring the deeper meanings of this poem, one may find Bai uses the above scenes as a metaphor for something beautiful and hazy. More importantly, he expresses his missing and pitiful emotions for the people and things which once existed but soon disappeared.

4.5. Swallow’s Chirping

1. Background

“Swallow’s Chirping” is a setting of a text by Wei HanZhang. Following the

“Songhu War” in Shanghai, most Chinese people were homeless.73 Large tracts of Chinese land were occupied by the Japanese invasion. Huang and Wei saw these terrible situations and felt great sorrow. They used this poem and song to express their care for the Chinese.

Both of them used the swallow’s chirpings to express their sadness. It also conveys their wishes for a better future.

2. Translation

Jūn Mò Wèn Bié Lái Hé Chù [tɕyn] [mɔ] [wən] [pjɛ] [lai] [xə] [tʂʰu] 君莫问别来何处 You don’t ask come where (You don’t need to ask where I come from)

Jūn Mò Xiào Huà Liáng Yī Fù [tɕyn] [mɔ] [ɕjɑʊ] [xwa] [ljɑŋ] [ji] [fu] 君莫笑画梁依附 You don’t laugh paint beam live by (You don’t need to laugh at me that I live by a painting beam.)

Jūn Gèng Mò Lǜ Jiù Shí Cháo [tɕyn] [kəŋ] [mɔ] [ly] [tɕjoʊ] [ʂi] [tʂʰɑʊ] 君更莫虑旧时巢

73“Songhu War” (“淞沪会战”) happened on August 13rd, 1937 in Shanghai. The Japanese invaders intent to occupy the Shanghai and all Chinese armies and people in Shanghai rejected their invasion. 42

You even don’t worry about old nest (You even don’t need to worry about my old nest)

Shòu Jìn Fēng Fēng Yǔ Yǔ [ʂoʊ] [tɕin] [fəŋ] [fəŋ] [jy] [jy] 受尽风风雨雨 Bear endless wind rain (I suffer from the endless wind and rain)

Wǒ Dàn Yuàn Yǔ Chūn Tóng Zhù [wɔ] [tɛn] [jɥɛn] [jy] [tʂʰuən] [tʰɔŋ] [tʂu] 我但愿与春同住 I but wish with spring together live (I wish to live with the spring together.)

Wǒ Dàn Yuàn Zhǔ Rén Wú Gù [wɔ] [tɛn] [jɥɛn] [tʂu] [ɻən] [wu] [ku] 我但愿主人无故 I but wish owner no die (I wish my owner would never pass away)

Wǒ Biàn Cóng Tóu Zhù Qǐ Xīn Cháo [wɔ] [pjɛn] [tsʰɔŋ] [tʰoʊ] [tʂu] [tɕʰi] [ɕin] [tʂʰɑʊ] 我便从头筑起新巢 I then from head build up new nest (I will then build up my new nest from the beginning)

Nǎ Pà Xīn Xīn Kǔ Kǔ [na] [pʰa] [ɕin] [ɕin] [kʰu] [kʰu] 哪怕辛辛苦苦 Even very hard (No matter how hard it would be)

3. Text analysis

Although Wei’s “Swallow’s Chirping” is short, he again personifies a non-human subject, the swallow. For the first three stanzas, Wei uses three “You don’t …” to illustrate the difficult situation of the swallow, which represents the bad situation of Chinese people at that time. Families were broken and many had to leave their hometowns. Like the

43 swallow in this poem, many could not find a place to live. In the fourth stanza, the poet points out the reason: a swallow doesn’t have a resting place because of wind and rain, while represents the impact of Japanese invasion on the Chinese people.

Beginning in the fifth stanza, Wei describes the first wish of the swallow - to always live in the springtime. The swallow’s wish here represents the Chinese people’s wish to find a better life. In the sixth stanza, the second wish of the swallow is stated - that its owner would never die so that it still has the place to live. More importantly, in the last two stanzas, Wei mentions the hard work of the swallow. This is the poet’s way of praising the

Chinese people for their hard work even as they were suffering under Japanese invasion.

4.6. Nanxiangzi - Reflections after Climbing Up the Northern Hill Pavilion

1. Background

The text of this song was written by Xin Qiji who was in the South Song Dynasty.74

This poem was composed when Xin, at the age of 66, was appointed governor of Zhenjiang.

At that time, South Song Dynasty was in danger. Most of its land was occupied by the invaders, the Jin Dynasty.75 When Xin was young, he joined the army to fight against the

Jin’s invasion. He insisted on opposing peace talks with Jin Dynasty and hoped to restore the land they lost. He landed on the Beigu Pavilion in Zhenjiang and had a lot of emotions in his heart - sadness, worries of his country, patriotism, and dreams. Based on that, he composed this poem which not only praised a great general, Sun Zhongmou, but also hoped to fight against the invaders like him.76

In the 1930s, Huang’s native country also faced the Japanese invasion. Most land was occupied and people’s lives were difficult. Huang selected this poem because he desired to use Xin’s description to express his own patriotism and worries about his country and people.

74 Xin Qiji (辛弃疾, 1140-1207), also named as Youan (佑安), was one of the most famous poets in the history of Chinese literature. He composed more than 600 poems in his lifetime which convey his strong patriotism and fighting spirit. In addition, he was also a patriot, militarist, and politician in Chinese history. 75 Jin Dynasty (金朝, 1115-1234) was a northern country during South Song Dynasty. They often occupied the land of South Song Dynasty. 76 Sun Zhongmou (孙仲谋, 182-252), also named as Sun Quan (孙权), was the founder of Wu Country (吴国) during the period of Three Kingdoms (三国时期, 220-280). The other two countries were Cao Cao’s (曹操) Wei Country (魏国) and Liu Bei’s (刘备) Shu Country (蜀国). 45

2. Translation

Hé Chù Wàng Shén Zhōu [xə] [tʂʰu] [wɑŋ] [ʂən] [tʂou] 何处望神州？ Where see the land (Where is the Divine Land now?)

Mǎn Yǎn Fēng Guāng Běi Gù Lóu [mɛn] [jɛn] [fəŋ] [kwɑŋ] [pei] [ku] [loʊ] 满眼风光北固楼。 Full eyes scene Beigu pavilion (There are a lot of scenes in front of me when landing on Beigu pavilion.)

Qiān Gǔ Xīng Wáng Duō Shǎo Shì [tɕʰjɛn] [ku] [ɕiŋ] [wɑŋ] [twɔ] [ʂɑʊ] [ʂi] 千古兴亡多少事？ Thousands of years flourishment decay how many things (For thousands of years, how many dynasties flourished and decayed here?)

Yōu Yōu Bú Jìn Cháng Jiāng Gǔn Gǔn Liú [joʊ] [joʊ] [pu] [tɕin] [tʂʰɑŋ] [tɕjɑŋ] [kun] [kun] [ljoʊ] 悠悠, 不尽长江滚滚流。 You you endless river rapidly flow (The endless river flows rapidly.)

Nián Shào Wàn Dōu Móu [njɛn] [ʂɑʊ] [wɛn] [toʊ] [moʊ] 年少万兜鍪， Young ten thousand soldiers (When he was young, he had ten thousands of soldiers.)

Zuò Duàn Dōng Nán Zhàn Wèi Xiū [tswɔ] [twɛn] [tɔŋ] [nɛn] [tʂɛn] [wei] [ɕjoʊ] 坐断东南战未休。 Occupied Southeast wars never stop (He occupied the southeast land and never stopped resisting enemies.)

Tiān Xià Yīng Xióng Shuí Dí Shǒu [tʰjɛn] [ɕja] [jiŋ] [ɕjɔŋ] [ʂwei] [ti] [ʂoʊ] 天下英雄谁敌手？ 46

In the whole country heroes who enemies (For all the heroes in this country, who will be his enemies?)

Cáo Liú Shēng Zǐ Dāng Rú Sūn Zhòng móu [tsʰɑʊ] [ljoʊ] [ʂəŋ] [tsi] [tɑŋ] [ɻu] [suən] [tʂɔŋ] [moʊ] 曹刘, 生子当如孙仲谋。 (Caocao and Liu Bei, if you gave birth to a son, he should be brave like Sun Zhongmou)

3. Text analysis

There are two parts in this poem. Each includes four stanzas. In the first stanza,

“Shen Zhou” means the main lands of South Song Dynasty. Most land was occupied by

Jin’s invaders at that time. In second stanza, the poet describes what he saw after landing on Beigu Pavillion. The scene in front of him is grand. However, it soon disappears after

Jin’s invasion, which makes Xin very sad. This is a writing technique often used in ancient poems which is called “using beautiful scene to express one’s sadness”. Based on the first two stanzas, Xin feels sad because his country was occupied and this beautiful scene would be lost soon. Then, Xin continues to ask how many dynasties were built and destroyed in

Chinese history. The answer is as many as the flowing water.

In the second part, Xin uses the story of Three Kingdoms in Chinese history to praise Sun Quan. When Sun was young, he founded his Wu country which occupied the

Southeast part. He kept fighting against invasion from another two countries, Shu country and Wei country. He used his wisdom and courage to protect his country and people. The poet then asks, who would be Sun’s enemies? The answer is only Cao Cao and Liu Bei, who are the kings of Wei country and Shu country.

At the end of this poem, Xin cites Cao Cao’s famous saying, “If you had a son, your son should be wise and brave like Sun Quan.” As the enemy, Cao gave the high praise towards Sun Quan, which shows Sun’s wisdom and courage. By praising Sun Quan, the poet actually expresses his ambition to reject the invasion and restore the lands they lost.

4.7. Busuanzi - Written at Dinghui Abbey in Huangzhou

1. Background

The text of this song was chosen from Su Shi’s “Busuanzi - Written at Dinghui

Abbey in Huangzhou”. 77 Throughout his lifetime, Su composed many poems with powerful words and a unique artistic style. These poems were popular for a thousand years and had a profound influence on the poetry of future generations.

Su’s political life was extremely difficult. He was famous for his talent in “Imperial

Examination” of the North Song Dynasty.78 However, he was demoted to Huangzhou (now

Huanggang city in Hubei Province) because of “Wutai Poetic Case”.79 Then, he was re- promoted and went back to Hangzhou. There, he built the Su dike and cleaned West Lake.

Unfortunately, again he was relegated to Danzhou because of the political disagreement.

This poem was composed when Su was relegated to Huangzhou.

77 Su Shi (苏轼, 1037-1101), also named Dongpo (东坡), was a Chinese famous literato, calligrapher, and politician in North Song Dynasty. He was the main representative of “Unstrained Poets” and was named as one of “Eight Masters of the Tang and Song Dynasty” (“唐宋八大家”) by the following generations. His main works include Dongpo Yizhuan (《东坡易传》), Dongpo Qiji (《东坡七集》), Dongpo Yuefu (《东坡乐府》), and so on. 78 Imperial Examination (科举考试) was a formal examination which was held by each dynasty. It was used to select the talent people to be governors to serve the country in ancient China. 79 “Wutai Poetic Case” (“乌台诗案”): In 1079, Su disagreed the policies with Prime Minister, Wang Anshi (王安石, 1021-1086) and was then assigned to Hangzhou as an officer. He became very angry when he saw people suffered from the new policies by Wang. Then, he composed more than 20 poems to sneer Wang’s new policies, which made Wang very angry. Finally, he got arrested and was put into prison for 130 days. Besides him, many people were also involved. This case is called “Wutai Poetic Case” in Chinese history.

2. Translation

Quē Yuè Guà Shū Tóng [tɕʰɥœ] [jɥœ] [kwa] [ʂu] [tʰɔŋ] 缺月挂疏桐 Waning moon hang sparse tree (The waning moon is hung on a tree with sparse leaves,)

Lòu Duàn Rén Chū Jìng [lou] [twɛn] [ɻən] [tʂʰu] [tɕiŋ] 漏断人初静 Drop stop People begin quite (The man begins to get hushed only when all the water flows out from a water-clock.)

Shuí Jiàn Yōu Rén Dú Wǎng Lái [ʂwei] [tɕjɛn] [joʊ] [ɻən] [tu] [wɑŋ] [lai] 谁见幽人独往来 Who see fewer people alone come and go (There are fewer people walking in the street,)

Piāo Miǎo Gū Hóng Yǐng [pʰjɑʊ] [mjɑʊ] [ku] [xɔŋ] [jiŋ] 缥缈孤鸿影 Hazy lonely swan shadow (Only the shadow of a singular swan appears in the sky.)

Jīng Qǐ Què Huí Tóu [tɕiŋ] [tɕʰi] [tɕʰɥœ] [xwei] [tʰoʊ] 惊起却回头 Startled but turn head (Startled, he turns his head,)

Yǒu Hèn Wú Rén Xǐng [joʊ] [xən] [wu] [ɻən] [ɕiŋ] 有恨无人省 Have hate no people understand (He is so sad that no one can understand his hate and sadness.)

Jiǎn Jìn Hán Zhī Bù Kěn Qī [tɕjɛn] [tɕin] [xɛn] [tʂi] [pu] [kʰən] [tɕʰi] 拣尽寒枝不肯栖 50

Select end cold branch no want rest (The swan does not want to have the rest on the tree branch even if it is not cold,)

Jì Mò Shā Zhōu Lěng [tɕi] [mɔ] [ʂa] [tʂoʊ] [ləŋ] 寂寞沙洲冷 Alone sandbank cold (It prefers to have the rest on the cold sandbank.)

3. Text analysis

In the first four stanzas, the poet describes that he cannot fall asleep and is wandering under the waning moon. Only a lonely swan accompanies him. In ancient

Chinese literature, the moon always has specific meanings. A round or integrated moon means family reunion, whereas the waning moon represents bad emotion, such as homesickness or unhappiness in one’s work and life. Here, Su feels upset because he has just been released from prison because of “Wutai Poetic Case” and feels lonely because only a lonely swan accompanies him at that time.

These feelings are further illustrated in the fifth and sixth stanzas. The poet suddenly turns his head, but there is nobody there at that time. In the last two stanzas, he continues to describe that lonely swan who still does not want to have a rest on the tree branch even though it is not cold. Here, Su personifies the lonely swan. What he describes about the lonely swan is actually describing himself, that is, he does not want to be the same as Wang Anshi who made people’s lives tough. Su’s heart is cold and he is disappointed with North Song Dynasty. Overall, in this sleepless night, Su uses the waning moon, dropping water from water-clock, and the lonely swan to describe his despair and loneliness, as well as his unwillingness to be same as Wang Anshi.

4.8. Ode to Ascending the Tower

1. Background

The text of this song was chosen from Wang Zhuo’s poem, “Ode to Ascending the

Tower”.80 Wang was a famous poet in North Song Dynasty. Although he had a lot of knowledge, he never got any appointment from the government. This poem features clear writing and describes a vivid scene. The poet landed on the tower and saw the beauty of nature in the twilight of spring. Then, he expressed his hope that the beautiful spring would be here forever.

When composing this song, Huang had a similar emotion to Wang’s because the socio-political and economic situation was turbulent. This song, composed in 1934, was composed to express his emotion by using the emotion from Wang’s poem, that is, his desire and pursuit of a more stable and better life.

80 Wang Zhuo (王灼, 1081-1160), also named as Huishu (晦叔), was born in Suining (遂宁) in Sichuan Province (四川省). He had a profound influence on literature, music, and technology in Chinese history. His works include Yi Tang Wen Ji (《颐堂文集》), Zhou Shu Yin Xun (《周书音讯》, 12 volumes), Tang Shuang Pu (《糖霜谱》), etc. However, most of them got lost. Currently preserved works only include 5 volumes of Yi Tang Wen Ji, 5 volumes of Bi Ji Man Zhi (《碧鸡漫志》), one volumes of Yi Tang Ci (《颐堂词》), one volume of Tang Shuang Pu, and twelve anonymous articles (佚文).

2. Translation

Xiū Xī Yú Chūn Shì Lái Bǎ Jiǔ Liú Chūn Zhù [ɕjoʊ] [ɕi] [jy̯ ] [tʂʰuən] [ʂi] [lai] [pa] [tɕjoʊ] [ljoʊ] [tʂʰuən] [tʂu] 休惜余春，试来把酒留春住 Rest sigh rest spring try come put wine hold spring live (When I have a rest, I find spring ends soon. Therefore, I try to use wine to make the spring stay here.)

Wèn Chūn Wú Yǔ Lián Juǎn Xī Shān Yǔ [wən] [tʂʰuən] [wu] [jy̯ ] [ljɛn] [tɕɥɛn] [ɕi] [ʂan] [jy̯ ] 问春无语，帘卷西山雨 Ask spring no words curtain roll west mountain Yu (I ask the spring, but it says nothing. The west mountain is coved by rain which is like the rolled curtain.)

Yī Jū Chóu Xīn Qiáng Yù Dēng Gāo Fù [ji] [tɕy] [tʂʰou] [ɕin] [tɕʰjɑŋ] [jy̯ ] [təŋ] [kɑʊ] [fu] 一掬愁心，强欲登高赋 A hand of worried heart strong want land high poem (I feel so worried that I am eager to land on this high building and write a poem.)

Shān Wú Shù Yān Bō Wú Shù [ʂɛn] [wu] [ʂu] [jɛn] [pɔ] [wu] [ʂu] 山无数，烟波无数 Mountain countless mist ripples countless (I see countless mountain and misty ripples in front of me.)

Bù Fàng Chūn Guī Qù [pu] [fɑŋ] [tʂʰuən] [kwei] [tɕʰy] 不放春归去 No release spring return go (I don’t want to let the spring leave.)

3. Text analysis

This poem is written to describe Wang’s inner feeling when he landed on the tower in spring. He saw everything was growing at that time which presents a very beautiful scene. Although he was very happy to see that, he felt a little regretful that the spring was

53 too short. Then, he uses personification in next sentence and treats spring as his friend. He wishes the beautiful thing can be kept for a long time. He continues to ask the spring, but the spring does not reply. Then, the poet rolls up the curtains and looks at the mountains far in the west which are immersed in the rain. After seeing this scene of nature, he is filled with melancholy. Again, he uses personification in the last sentence that he does not want to let the spring leave. In another word, he hopes to keep his beautiful spring forever, which expresses his love and pursuit of beautiful life.

4.9. Philosophical Song

1. Background

In 1935, Huang composed this “Philosophical Song” for a Chinese movie, “Song of China”. This is the only song he composed for a movie. The text of this song was written by Zhong Shigen who also wrote the plots of this movie.81 Huang’s music in this song was highly integrated with the text and the theme of the movie. In describing the music for this movie, Huang stated:

“The music for this movie is similar to the music for operas. Both movies and operas are complicated arts and can’t exist without music. Although the importance of music in voiced movie is less than that in opera, it can’t be ignored. The addition of proper music into the movie will make the movie better and more perfect. The development of our movie just began, especially for the music of the movie, falling behind that in western countries. Therefore, we should also promote the development of music for the movie when producing the movie.”82

In this song, Huang used his music to inspire positive energy, such as dedicating oneself to serve others, the great harmony, and the philanthropism. It highly corresponds to the theme of this movie.

2. Translation Rén Jiē Yǒu Fù Yì Wǒ Dú Wú [ɻən] [tɕjɛ] [joʊ] [fu] [ji] [wɔ] [tu] [wu] 人皆有父翳我独无 Everyone both has father but I only don’t (Everyone has father, but I don’t.)

81 Zhong Shigen (钟石根) 82 Chen and Xiang, “Datong Boai, Gongxiang Tianlun,” 45. 55

Rén Jiē Yǒu Mǔ Yì Wǒ Dú Wú [ɻən] [tɕjɛ] [joʊ] [mu] [ji] [wɔ] [tu] [wu] 人皆有母翳我独无 Everyone both has mother but I only don’t (Everyone has mother, but I don’t.)

Bái Yún Yōu Yōu Jiāng Shuǐ Dōng Liú [pai] [jyn] [joʊ][joʊ] [tɕjɑŋ] [ʂwei] [tɔŋ] [ljoʊ] 白云悠悠, 江水东流 White clouds floats river east flows (The white clouds are floating, and the ceaseless river is flowing to the east.)

Xiǎo Niǎo Guī Qù Yǐ Wú Cháo [ɕjɑʊ] [njɑʊ] [kwei] [tɕʰy] [ji] [wu] [tʂʰɑʊ] 小鸟归去已无巢 Small bird goes back already no nest (When the small bird goes back home, there is no nest existing there.)

ér Yù Gui Qù Yǐ Wú Zhōu [əɹ] [jy] [kwei] [tɕʰy] [ji] [wu] [tʂoʊ] 儿欲归去已无舟 Son wants go back but no boats (When the son plans to go back home, there is no boat there.)

Hé Chù Mì Yuán Tóu [xə] [tʂʰu] [mi] [jɥɛn] [tʰoʊ] 何处觅源头 Where find origination (Where is the home?)

Mò Dào ér Shì Bèi Qì Dì Gāo Yáng [mɔ] [tɑʊ] [əɹ] [ʂi] [pei] [tɕʰi] [ti] [kɑʊ] [jɑŋ] 莫道儿是被弃的羔羊 Don’t say son is abandoned lamb (Don’t say the son is an abandoned lamb.)

Mò Dào ér Yǐ Kū Duàn Liǎo Gān Cháng [mɔ] [tɑʊ] [əɹ] [ji] [kʰu] [twɛn] [ljɑʊ] [kɛn] [tʂʰɑŋ] 莫道儿已哭断了肝肠 Don’t say son already cry break liver intestine (Don’t say the son has already been crying until his heart was completely broken)

Rén Shì Dì Cǎn Tòng Qǐ Jǐn Shì Shī Liǎo Diē Niáng [ɻən] [ʂi] [ti] [tsʰɛn] [tʰɔŋ] [tɕʰi] [tɕin] [ʂi] [ʂi] [ljɑʊ] [tjɛ] [njɑŋ] 人世的惨痛, 岂仅是失了爹娘 World misery pain Not only is lose father mother

Jǐng Xǐng Bà Mí Tú Dì Gāo Yáng [tɕiŋ] [ɕiŋ] [pa] [mi] [tʰu] [ti] [kɑʊ][jɑŋ] 警醒吧迷途的羔羊 Wake up lost lamb (Wake up, the lost lamb)

Shōu Shí Qǐ Tòng Kǔ Dì Shēn Yín [ʂoʊ] [ʂi] [tɕʰi] [tʰɔŋ] [kʰu] [ti] [ʂən] [jin] 收拾起痛苦的呻吟 Pick up painful sigh (Pick up your painful sigh)

Xiàn Chū Nǐ Chì Zǐ Dì Xīn Qíng [ɕjɛn] [tʂʰu] [ni] [tʂʰi] [tsi] [ti] [ɕin] [tɕʰiŋ] 献出你赤子的心情 Contribute you hot emotion (Give out your hot heart)

Lǎo Wú Lǎo Yǐ Jí Rén Zhī Lǎo [lɑʊ] [wu] [lɑʊ] [ji] [tɕi] [ɻən] [tʂi] [lɑʊ] 老吾老以及人之老 Old one’s own old and People’s old (Love one’s own elderships, then one can love others’ elderships)

Yòu Wú Yòu Yǐ Jí Rén Zhī Yòu [joʊ] [wu] [joʊ] [ji] [tɕi] [ɻən] [tʂi] [joʊ] 幼吾幼以及人之幼 Young one’s own young and people’s young (Love one’s own children, then one can love others’ children)

Shōu Shí Qǐ Tòng Kǔ Dì Shēn Yín [ʂoʊ] [ʂi] [tɕʰi] [tʰɔŋ] [kʰu] [ti] [ʂən] [jin] 收拾起痛苦的呻吟 Pick up painful sigh (Pick up your painful sigh)

Xiàn Chū Nǐ Chì Zǐ Dì Xīn Qíng [ɕjɛn] [tʂʰu] [ni] [tʂʰi] [tsi] [ti] [ɕin] [tɕʰiŋ] 57

献出你赤子的心情 Contribute your hot emotion (Give out your hot heart)

Fú Wù Xī Shēng [fu] [wu] [ɕi] [ʂəŋ] 服务牺牲 Serve Sacrifice (Serve others and sacrifice oneself)

Shě Jǐ Wèi Rén Wú Bó Hòu [ʂə] [tɕi] [wei] [ɻən] [wu] [pɔ] [xoʊ] 舍己为人无薄厚 Sacrifice oneself for others no less more (Sacrifice oneself for others no matter who they are)

Hào Hào Jiāng Shuǐ ǎi ǎi Bái Yún [xɑʊ][xɑʊ] [tɕjaŋ][ʂwei] [ai][ai] [pai] [jyn] 浩浩江水霭霭白云 Flowing rivers cloudy white clouds (The mighty rivers and the white clouds)

Zhuāng Yán Yǔ Zhòu Gèn Gǔ Cún [tʂwɑŋ] [jɛn] [jy] [tʂoʊ] [kəŋ] [ku] [tsʰuən] 庄严宇宙亘古存 Majestic universe forever exist (The majestic universe exists forever.)

Dà Tóng Bó ài Gòng Xiǎng Tiān Lún [ta] [tʰɔŋ] [pɔ] [ai] [kɔŋ] [ɕjɑŋ] [tʰjɛn] [luən] 大同博爱共享天伦 Great harmony philanthropism co-share joy of family (Let’s enjoy the great harmony and philanthropism and co-share the joy of family.)

3. Text analysis

The text of this song is about an orphan. In the first two stanzas, Zhong describes an orphan. Then, he depicts the white clouds and flowing river to further describe how pitiful the orphan is. The orphan wants to go back home but finds there is no boat, just like

58 a bird finds its nest is gone when it returns. Therefore, the orphan asks the question, “Where is my home?” He not only does not have parents, but also becomes homeless. Based on that, Zhong continues to use two “Mo Dao… (Don’t say…)” to further highlight this orphan’s sadness.

Then, Zhong changes his theme from a pitiful and sad orphan into the high-level spirit. From “Ren Shi Di Chan Tong…”, Zhong begins to inspire this orphan to wake up, to contribute, and to dedicate himself to serve others. At the end of this text, the writer emphasizes the high-level spirit which includes the great harmony and the philanthropism.

4.10. Downstream to Jiangling

1. Background

The text of “Downstream to Jiangling” was written by Li Bai, a romantic poet from the

Tang Dynasty.83 In the spring of 759, Li Bai was exiled to Yelang (now Guizhou Province) because of “Li Lin Case”.84 When he went through Baidi City (now Sichuan Province), he received the document which made him free. Then, he changed his direction to Jiangling

City (now Hubei Province). Therefore, he wrote this poem to depict his joyfulness after being released at that time. Huang’s music corresponds to the joyful emotion in this poem.

2. Translation

Zhāo Cí Bái Dì Cǎi Yún Jiān [tʂɑʊ] [tsʰi] [pai] [ti] [tsʰai] [jyn] [tɕjɛn] 朝辞白帝彩云间， Morning leave Baidi city colorful clouds between (In the morning, I left Baidi city which was covered by colorful clouds,)

Qiān Lǐ Jiāng Líng Yī Rì Huán [tɕʰjɛn] [li] [tɕjɑŋ] [liŋ] [ji] [ɻi] [xwɛn] 千里江陵一日还。 Thousand miles Jiangling city one day return

83 Li Bai (李白, 701-762), also named Taibai (太白) was a romantic poet in Tang Dynasty. He had the talent to composed poems and composed more 1, 000 poems in his lifetime, including “Wang Lushan Pubu” (《望庐山瀑布》), “Xing Lu Nan” (《行路难》), “Shu Dao Nan” (蜀道难), and so on. 84 “Li Lin Case” (李粼案): It happened in Tang Dynasty. Li Lin was the young brother of Tang Suzong (唐肃宗, the emperor of Tang Dynasty at that time). He rose to fight for the throne. Li Bai didn’t know what happened. He hoped to serve his country and joined Li Lin’s team. In 758, Li Lin failed and was suppressed then. All the people who supported Li Lin were sentenced to death or prison. Among them, Li Bai was exiled to Yelang. In Tang Dynasty, Yelang was a poor and remote city. 60

(Although Jiangling city is a thousand of miles away, I just need a day to arrive there by boat.)

Liǎng àn Yuán Shēng Tí Bú Zhù [ljɑŋ] [ɛn] [jɥɛn] [ʂəŋ] [tʰi] [pu] [tʂu] 两岸猿声啼不住， Two sides apes sound shout no stop (The apes on the two sides of the river keep shouting,)

Qīng Zhōu Yǐ Guò Wàn Chóng Shān [tɕʰiŋ] [tʂoʊ] [ji] [kwɔ] [wɛn] [tʂʰɔŋ] [ʂɛn] 轻舟已过万重山 Light boat already pass Ten thousand layers mountains (My light boat has already passed ten thousand of mountains.)

3. Text analysis

This poem is short, but is filled with joy. Li Bai was exiled to Yelang which was far away from his hometown. However, when he was on his way to Yelang, he got free in

Baidi. It made him very happy and he expressed his emotion in this poem. In the first stanza,

Li depicts the scene in the morning when he left Baidi city. “Cai Yun” usually means beautiful clouds in the morning which reflects Li’s joyfulness at that time.85 In the second stanza, Li describes the day-long journey from Baidi to Jiangling although it is far between both cities. This shows his eagerness to leave Baidi and arrive in Jiangling soon. In the last two stanzas, Li continues to depict what he heard and saw on his way to Jiangling: the apes’ shouting and ten thousand mountains. “Qing” in the last stanza reveals his boat is light and very fast. It also indicates his hope to soon arrive in Jiangling. Besides that, Li uses the last two stanzas to praise the beauty of his country.86

85 This technique is called “Using beautiful scene to reflect good emotion” in Chinese ancient poems. 86 Wang, “Analysis and Interpretation of Huang Zi’s Art Songs,” 10. 61

Chapter 5. Conclusion

Chinese arts songs are a wealth of artistic opportunity for the solo singers. The compositions from such composers as Huang Zi, Qing Zhu, Zhao Yuanren, Ying

Shangneng, and He Lvting offer singers from all cultures and countries an entry point into the abundance and beauty of Chinese art songs. Traditional Chinese texts, set to music by

Chinese composers who have been influenced by western compositional techniques, provide singers and audiences a window into traditional Chinese culture and music.

Currently, the main barriers for non-Chinese singers to perform these songs are language and culture. To overcome the language barrier, more Chinese art songs need to be translated and notated with the “Pinyin” system. “Pinyin” provides non-Chinese singers an understandable and effective way to sing and study art songs. The cultural barrier is a more complex issue, as the texts of Chinese art songs are usually selected from Chinese poems which are often difficult for even native speakers to understand.

This document is intended to introduce the idea of including Chinese art songs in a solo recital, to introduce the music of Huang Zi as representative of a larger repertoire, and to suggest “Pinyin” system to unlock pronunciation. That said, a recommendation for further study - reducing the language and cultural barrier - would be to have native Chinese singers and scholars provide and make more accessible text analysis and interpretation. I hope more Chinese art songs will be performed all over the world.

Bibliography

Chen, Ying, and Xiang, Qiankun. “Datong Boai, Gongxiang Tianlun.” (《大同博爱，共

享天伦》) Dianying Wenxue 22, no. 4 (2007): 45.

Deng, Wei. “In the 20th Century 20-30s Chinese Art Songs and Singing Researching.” (

《20 世纪 20-30 年代中国艺术歌曲及其演唱研究》) Master diss., Hunan

Normal University, 2011.

Ding, Shu. “Open Your Eyes to See the World - The Influence of Xuetang Yuege on the

Development of Modern Music.” (《开眼看世界--学堂乐歌对近代音乐发展影

响研究》Journal of Xuchang University 79, no. 6 (2019): 84-87.

Huang, Xiaolin. “Re-creation of Huang Zi’s Three Wishes of Rose.” (《黄自的〈玫瑰三

愿〉再创作》) Master diss., Fujian Normal University, 2017.

Huang, Ying. “Comparison of Art Songs between Faure and Huang Zi.” (《福雷与黄自

艺术歌曲对比研究》) Master diss., Shanxi Normal University, 2011.

Huang, Youdi. Compositions of Mr. Wei Hanzhang’s poems. (《韦瀚章先生的歌词创作

》) Taibei Dongda Library Press, 1986.

Huang Zi Yizuo Ji. (《黄自遗作集》) Anhui Culture and Art Press, 1997.

Li, Qian. “Analysis of Huang Zi’s Three Art Songs.” 《黄自三首艺术歌曲演唱的探析

》 Inner Mongolia Normal University, 2005. 63

Lian, Jie. “Studying the Harmonic Techniques in Huang Zi’s Classic Art Songs.” (《黄自

经典艺术歌曲和声技法研究》) Master diss., Jilin College of the Arts, 2018.

Liao, Fushu. Biograph of Xiao Youmei. (《萧友梅传》) Zhejiang Meishu Press, 1993.

Lu, Jianzhen. “Studies the Characters and Singing Styles of Huang Zi’s Artistic Songs.” (

《黄自艺术歌曲特征及其演唱风格研究》) Master diss., Shanghai

Conservatory of Music, 2009.

Ma, Dandan. “Comparison of Huang Zi’s and Richard Strauss’s Art Songs - Taking Mei

Gui San Yuan and Cacilie as an example.” (《黄自与理查施特劳斯艺术歌曲之

比较 – 以〈塞西莉〉和〈玫瑰三愿〉为例》) Master diss., Shanghai

Conservatory of Music, 2014.

Ma, Huiqiong. “Singing Style and Feature of Huang Zi’s Art Song.” (《黄自艺术歌曲的

创作与演唱风格特征》) Master diss., Northwest University of Nationalities,

2015.

Naughton, Barry. Growing out of the Plan. Cambridge University Press, 1995.

Qian, Renkang. Huang Zi’s Life and compositions. (《黄自的生活与创作》) People

Music Press, 1997.

Shen, Xuan, Gu, Wenxian, and Tao, Xin. The History of Western Music (Brief Edition). (

《西方音乐史简编》) Shanghai Music Press, 1999.

Spence, Jonathan. The Search for Modern China. New York: W.W. Norton and

Company, 2001.

Sun, Chaofeng. Chinese: A Linguistic Introduction. Cambridge: Cambridge University

Press, 2006.

Sun, Yung-Wei. A Performance Guide to Mandarin-Chinese Diction and Selected Art

Songs by Yiu-Kwong Chung. DMA diss., The Ohio State University, 2012.

Wang, Huiying. “Analysis and Interpretation of Huang Zi’s Art Songs.” (《黄自古诗词

艺术歌曲的分析及演绎》) Master diss., Xi’an Controversy of Music, 2010.

Xu, Zhi. “Exploring Cige, Quyun, and Yiyun in “Missing Homeland”.” (《艺术歌曲〈

思想〉词格、曲韵、意蕴探究》) Master diss., Hunan Normal University,

2012.

Xu, Qian. “Studies of Huang Zi’s Art Songs.” (《黄自艺术歌曲研究》) Master diss.,

Shandong Normal University, 2006.

Xu, Zhe. “Studying Huang Zi’s Art Songs.” (《黄自艺术歌曲研究》) Master diss.,

Shandong Normal University, 2012.

Yin, Yue. “Studying the Harmonic Usage in Huang Zi’s Art Songs.” (《黄自艺术歌曲和

声技法运用研究》) Master diss., Changjiang University, 2017.

Yu, Xueyan. “On the Different Phases and Artistic Character of Chinese Art Song in the

20th Century.” (《二十世纪中国艺术歌曲的分期及其艺术特色》) Master diss.,

Henan University, 2002.

Zhan, Weifan. “A Brief Analysis of the Creation Characteristics and Singing Skills of

Huang Zi’s Art Song “Three Wishes of Rose”.” (《黄自艺术歌曲〈玫瑰三愿〉

的创作特点及演唱技巧》) Master diss., Qilu Univeristy of Technology, 2019.

Zhang, Hongdao. The History of European music. (《欧洲音乐史》) People Music

Press, 1993.

Zhang, Kedong. “Structural Art in Huang Zi’s Cantata “Everlasting Regret”.” (《论黄自

清唱剧〈长恨歌〉对结构艺术》) New West 13, no. 2 (2015): 96-97.

Zhang, Tao and Mao Kuangping. Selected Collection of Chinese Art Songs. (《中国艺术

歌曲选集》, Shanghai Education Press, 2007.

Zhao, Hua. “Chinese Art Songs from 1920s to 1940s.” (《二十世纪 20-40 年代的中国

艺术歌曲》) Master diss., Northwest Normal University, 2003.

Zheng, Jie. “Historic Development of Chinese Art Songs in the First Half of 20th

Century.” 《从 “引进” 、“模仿”到“探索”、“创新”- 20 世纪上半叶

中国艺术歌曲发展的历史轨迹》Master diss., Shanghai Conservatory of Music,

2004.

Zhong, Zhiping. “The Influence of the May Fourth New Cultural Movement on the Art

Song Creation of Early 20th Century in Our Country.” (《五四新文化运动对我

国 20 世纪初艺术歌曲创作的影响》) Master diss., Hunan Normal University,

2010.

Appendix A. Scores for Huang’s Art Songs with “Pinyin”