| Summary: | 碩士 === 國立中正大學 === 中國文學所 === 94 === Literature and music are modes of human emotional expression that have long been inseparable. The form that has become known as ‘Chinese art songs’ first saw day during the era of the May 4th Movement (nationalistic student movement of 1919) and marks a moment of particular significance in the history of the eastward spread of Western learning. The author addresses this art form in its cultural context by returning to the original forms of the music as first written so as to obtain a global appreciation of the form, then, through review of the works of Zhao Yuanren and Huang Zi, representative figures of the era, considers the historical significance of Chinese art songs in understanding the blending of Western and Eastern cultures. This distinctive approach opens a new perspective on studies in this field. The work is in seven parts.
Part 1, the Introduction, sets out the purpose, research parameters and methodology of the study, and provides a review of existing literature. Part 2, Definitions, compiles and analyzes art song data from domestic and foreign sources and determines the definitions of ‘art songs’ for the context of this paper, while affirming the pivotal position of Chinese art songs of the May 4th period in modern musical and cultural history. Part 3, The Form Takes Shape, looks at the historical background and creative foundations of the form under the impact of Chinese and Western cultures, with reference to the literary and musical history of China. Part 4, Development, draws on newly-available musical history sources to recount the development of this musical form during the May 4th period, illustrated through the standpoints or theories of selected important musical figures of the time. Part 5, Lyrics and Melody, classifies the types of lyrics and melodies that appeared at the time and discusses their distinguishing features and cultural significance. Part 6, Typology and Representative Works, considers, from a musico-literary perspective, the relationship of lyrics to melody, and how one is matched to the other, then collates and compares, on the basis of the composers’ own approaches, actual works of the period, and discusses whether the goals of these various approaches were indeed attained. Part 7, the Conclusion, proceeds through an analysis of the works of Zhao Yuanren and Huang Zi to define a musico-literary identity for Chinese art songs, and tracks the subsequent positioning and development of the form.
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