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QIN – THREE SONGS ABOUT NATURE FOR VOICE AND PERCUSSION
by
Alan Chan
A Musical Score Presented to the
FACULTY OF THE THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF MUSICAL ARTS
(COMPOSITION)
December 2008
Copyright 2008 Alan Chan
Object Description
| Title | Qin -- three songs about nature for voice and percussion |
| Author | Chan, Alan |
| Author email | alanc@usc.edu; info@alanchanmusic.com |
| Degree | Doctor of Musical Arts |
| Document type | Dissertation |
| Degree program | Composition |
| School | Thornton School of Music |
| Date defended/completed | 2008-10-29 |
| Date submitted | 2008 |
| Restricted until | Unrestricted |
| Date published | 2008-12-05 |
| Advisor (committee chair) | Crockett, Donald |
| Advisor (committee member) |
Ticheli, Frank Head, Brian |
| Abstract | Qin is a seven-string zither of Chinese origin with a history of more than five thousand years. It was an instrument played by the aristocrats and intellectuals in ancient China. Although the music for qin is often pre-composed, the interpretation of the music is highly individualistic and often involves some improvisation. Intellectuals used it as an outlet for meditation.; "Qin -- Three Songs About Nature" is a cycle of settings of three poems by Bai Juyi (C.E. 772-846) and Li Bai (C.E. 701-762) in the original Chinese language. The choice of this selection came from Chinese Literature scholar Jeannette L. Faurot's article "Music and Nature in Ancient Chinese Thoughts" (1998). She points out that music is a medium for people to communicate their emotions with each other and with nature based on the notion of resonance and sympathetic vibration. (p.6); This piece calls for two musicians -- a female vocalist and a percussion player -- providing an intimate set-up similar to qin music. A large collection of percussion instruments provides a diverse choice of timbre as well as a contrast of the two spaces on the stage with the singer standing solely on stage left and the percussion instruments on stage right. The physical space becomes as important as the musical space in the third movement. The musical materials are freely associated, incorporating styles from contemporary classical to music from Brazil and jazz. This creative process, incorporating free association and meditation, is similar to the process found in Chinese literature mentioned by literature theorists Lu Ji and Liu Xie (Fourth and Fifth Century C.E. respectively). This centuries-old practice is incorporated with musical elements of the present day. |
| Keyword | percussion music; vocal music; Qin; Chinese zither; Chinese literature; Tang dynasty; Li Bai; Bai Ju Yi; scat singing; jazz; Mandarin Chinese |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m1881 |
| Rights | Chan, Alan |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | http://www.usc.edu/isd/libraries/services/ask_a_librarian/email/ |
| Filename | etd-Chan-2554 |
| Archival file | uscthesesreloadpub_Volume44/etd-Chan-2554.pdf |
Description
| Title | Page 1 |
| Full text | QIN – THREE SONGS ABOUT NATURE FOR VOICE AND PERCUSSION by Alan Chan A Musical Score Presented to the FACULTY OF THE THORNTON SCHOOL OF MUSIC UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS (COMPOSITION) December 2008 Copyright 2008 Alan Chan |
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