For Soprano, Baritone, Chamber Choir and Chamber Orchestra.

The Song of Life;Soprano;Baritone;Chamber Choir;Chamber Orchestra;Mandarin Chinese;Music Composition;Buddhism;Christianity;Music and Dance;Arts;Music: Composition

Yen, Ming-HsiuSkelton, John L. ;

University of Michigan

关键词: The Song of Life;    Soprano;    Baritone;    Chamber Choir;    Chamber Orchestra;    Mandarin Chinese;    Music Composition;    Buddhism;    Christianity;    Music and Dance;    Arts;    Music: Composition;   

Others  :  https://deepblue.lib.umich.edu/bitstream/handle/2027.42/77920/myen_1.pdf?sequence=1&isAllowed=y

瑞士|英语

来源: The Illinois Digital Environment for Access to Learning and Scholarship

【 摘 要 】

The Song of Life, inspired by the requiem mass, is written with texts taken from Mandarin Chinese poetry by Taiwanese poet YANG Ping (b. 1957).The poems draw upon both Buddhist and Christian elements to convey the main idea, ;;Death is another form of rebirth.”The first movement, Spring Grass, opens with a perfect fifth above a tritone in the low strings, along with the baritone singing modal melodic lines to express the melancholy toward the deceased life.In contrast, under the keywords, ;;I believe,” ;;death,” and ;;rebirth,” the music features leaps with strong rhythmic articulation.In the last section, the transformed melody from the beginning is set with imitations among voices to express the wavering of the spring grass, which symbolizes ;;rebirth.”Stupa at the End of the World, is in an ABA form.In both A sections, trills, glissandos and upward gestures depict the scene of the Last Day in Christianity.In bars 117—145, the quasi-Bach-chorale is meant to satirize the idea that war is waged for the people, peace, love and freedom.In contrast, in the Lamento section, the strings provide a sensitive and emotional input. After the prayer in the chorus reaches an intense minor-major seventh chord, the C-sharp tutti elevates the prayer to a near-crying state.Nothing Cannot, But an Aircraft, marked Scherzo, starts playfully with strings using artificial harmonics, trills, and pizzicatos, with the soprano singing with glissandos with dramatic dynamic changes.Later in the lyric sections, the use of harmonics and glissandos with seagull effects in the strings are used to depict one’s inner world.The playful and flowing character reaches its final climax at the beginning of the fourth movement.The fourth movement, I Want to Sing a Song of Humankind, transforms the negative images from the previous movements to a positive and passionate state by its romantic harmonic language.The melodic motif from bars 83—88 is transformed from the Lamento section of the second movement; the lyrics and the music from bar 143 are also taken from the end of the first movement to further emphasize ;;spring grass.”