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Peking operas and modernization
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As a Chinese international student in Western Michigan University, it is a great opportunity for me to give the presentation to talk about the music – the Beijing Opera, which comes from my own country. The Beijing Opera has existed for over 200 years. It is widely regarded as the highest expression of the Chinese culture. It is known as one of the three main theatrical systems in the world. Although it is called Beijing Opera, its origins are not in Beijing but in the Chinese provinces of Anhui and Hubei province. Beijing Opera got its two main melodies, Xi Pi and Er Huang, from Anhui and Hubei operas. It then absorbed music and arias from other operas and musical arts in China. However, during the Cultural Revolution (1966-1976), Beijing Opera suffered along with other kinds of operas in China. All the traditional pieces reflecting the Old Societies were banned from performance. The famous Eight Model Plays, featuring the communist activities during the anti-Japanese war and the civil war with the Nationalists, as well as the class struggles after the founding of the People's Republic. In this presentation, I am going to talk about the features of both traditional and revolutionary Beijing Opera, and also some main differences between traditional and revolutionary opera.
The basic elements of Beijing Opera are Lianpu (the opera masks), vocal production, stage speech, song and lyric, and music. Lianpu is formed through dramatic artists' long-term practice and their understanding and judgment of the roles in plays. It is the colorful dressing on actors' faces. By using transformative and exaggerated figures, professional spectators would easily tell the characteristic of a role. In this way, it is called 'the picture of hearts'. ...
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...ere are three main differences between revolutionary and traditional opera. First, Revolutionary Opera's story is based on communist activities during the anti-Japanese war and the civil war with the Nationalists. However the traditional opera's story is mostly based on historical novels or traditional stories about civil, political and military struggles. Second is the difference of song and lyric. In revolutionary opera songs are more narrative; and lyrics are more modern and easy to understand; however in traditional opera, song is usually high pitch, lyrics are written in couplets, consisting of two lines. Finaliy, the music between traditional and revolutionary opera is different. The instrument played in revolutionary opera is not only Jinghu, but also have some western instruments; however Jinghu is the primary accompaniment for the traditional Beijing opera.
Hung Liu is successful in creating a juxtaposing image that tells a story about the many aspects of her Chinese origins. According to the painting, not all life in China is surrounded by beauty and elegance, like many believe it to be based on the traditional historical customs. Liu makes her point using a brilliant yet subtle progression, moving from the ideal to reality. Making use of the various principles and elements of art in her work creates a careful visual composition that benefit and support the painting’s achievements as a whole. This oil painting, being approximately 13 years old now, will hold a special place in Chinese history for the rest of its existence. The ideas Hung Liu portrays in Interregnum may help reform a social movement in the country by making her viewers socially aware of the cruel conditions the Chinese are facing under Communist rule, and this is all made possible through the assimilation of the principles and
Struggles of the Cultural Revolution Revealed in Bei Dao’s “Notes from the City of the Sun”
TitleAuthor/ EditorPublisherDate James Galways’ Music in TimeWilliam MannMichael Beazley Publishers1982 The Concise Oxford History of MusicGerald AbrahamOxford University Press1979 Music in Western CivilizationPaul Henry LangW. W. Norton and Company1941 The Ultimate Encyclopaedia of Classical MusicRobert AinsleyCarlton Books Limited1995 The Cambridge Music GuideStanley SadieCambridge University Press1985 School text: Western European Orchestral MusicMary AllenHamilton Girls’ High School1999 History of MusicRoy BennettCambridge University Press1982 Classical Music for DummiesDavid PogueIDG Books Worldwide,Inc1997
In his day, Johann Adolph Hasse was at the forefront of Italian opera. Although he composed a fair amount of sacred works, he is best known for his operatic output. He was widely popular throughout Italy and Germany, and was commissioned by courts and opera houses throughout Europe. His performances were attended by cultural figures at the time, as well as some of the biggest names in common-era music today. In his later life, styles changed and so Hasse’s acclaim diminished after his death. But generations later, he was re-established as a figurehead and icon of classic ancient Italian opera, a designation he possesses even today.
The 17th annual Sphinx Orchestra Finals Competition Concert has changed my perspective on classical music. I fully enjoyed the performance and might even consider going to next year’s performance. The young musician upheld incredible talent and the orchestra was just as unbelievable. I applaud the Sphinx Orchestra for putting on such a miraculous performance that anyone would enjoy a classical concert.
It holds such power over captives and captors alike that they cannot help but feel enamoured to the life it brings. Cesar especially feels the beauty of music “Oh, how he loved to hear the words in his mouth… It didn't matter that he didn't understand the language, he knew what it meant. The words and music fused together and became a part of him” and through music, he discovers his latent talent for singing (224). Based only on Roxanne’s previous arias, Cesar’s potential is outstandingly bright when he sings for the first time without any training whatsoever. Not only do the others learn to appreciate his gift, but Roxanne herself recognizes how promising he is or she would not have bothered to waste her time tutoring him. Beforehand, Cesar is nothing remarkable, just another one of the terrorists who detains them, but the opera transforms him into a separate person. Like the mansion enveloped in the garua, Cesar is heavily shrouded by serious self-esteem issues and fear, but after his breakthrough, his worries suddenly disappear and his life becomes a reservoir of joy. If “life, true life, was something stored in music”, then Cesar has lived a deprived life; his passion for music was just unfolding, but fate robs the world of who “was meant to be the greatest singer of his time” (5,
Eastern Washington University Department of Music presented a program of Opera works by Giacomo Puccini, Aron Copland, W.A. Mozart, John Dowland, Franz Shubert, Maurice Ravel, and Robert Schumann on Friday, March 7, 6:30 p.m., in the Music Building, Recital Hall. These Opera works were sung by Senior Recitalist, Alexandra Rannow.
Lloyd Webber’s widely regarded masterpiece Phantom Of The Opera uses key motifs and themes throughout the musical to establish its characters and scenes in an effective manner. Throughout the production the motifs, themes and songs all develop to reflect the changes their respective characters undergo. This is particularly evident when analysing The Phantom, his motifs and songs, and how they develop throughout the story.
Christmas and Opera did not merely seem to correlate, but understanding where the two events derived from can help one to understand the similarities and differences between them. The development of Christmas was different from the creation of opera because the working class was controlling the other social classes for profit. Whereas for opera, the different social classes unified to keep opera as entertainment and not a social event. Another difference came within the writing and context throughout the article and the presentation of information conveyed by the author. Yet the events share the similarity of both being refined and reinvented.
Hanan, Partick and Yu Li. Silent Operas. Hong Kong: Chinese University of Hong Kong, 1990.
In this essay I am going to be looking at Richard Wagner’s most Influential Opera’s “ Der Ring Des Nibelungen” also known as ‘The ring Cycle.' This cycle is made up of four operas.It begins with the beginning of the world and ends with the fall of the world. This piece begins as a mythic story and ends with modern humanity. This work in total is sixteen hours in length.I will be looking at the story behind the first opera or introduction entitled ‘Das Rheingold,' as well as his use of motifs and his use of development throughout the opera. The aim of this essay is to give a brief understanding of the complexity of western music in the 1800s.
On October 12th, I saw Tosca by Giacomo Puccini held at Atlanta Opera. Tosca is an Italian opera, directed by Tomer Zvulun, accompanied by an orchestra conducted by Arthur Fagen, included a cast of Kara Shay Thomson, Massimiliano Pisapia, and Luis Ledesma (The Atlanta Opera). Opera is an art form in which singers act out drama through a combination of acting and vocal performance. Singers deliver conversation in a musical manner, essentially singing the conversation. Since we recently learned about opera in class, I want to explore the future of opera - where it will go next with the ever advancing modern technology, media and entertainment, and what researches are currently being done at both the industry and academic levels. I will briefly describe what the traditional opera is like using Tosca as an example. Next, I will look at modern opera after the World War II. I will also select one example from the industry and university that are experimenting with opera. At last, I will offer my imagination of what the future of opera may be.
With the Romantic era taking a foothold in the nineteenth century, the rise of the German opera was nourished with the rise of nationalism in music. Due to the comparative nature of the German language versus the Italian language, early German language operas were imitative but could not effectively compete with Italian language operas. “Traditional operatic singing was a function, an outgrowth of the Italian language, the nature of its vowels, and consonants, and its ability to sustain melisma. As long as German language opera attempted to compete with Italian opera on its own artistic turf without one embracing the unique character of German language vocal music and two, by employing plot elements that would somehow distinguish it from
Chinese music is described as a unique form of art. Even today, the Modern Chinese music has a Western Modern Music style. The music has it's own characteristics and is very much distinct.
Peking Opera is over 200 years old (Wertz).It started in approximately “1790, when four opera troupes from the province of Anhui came to Beijing to perform on the occasion of the 80th birthday of the emperor, Qianlong” (HISTORY, Xu). It was originally performed in “open air, teahouses or temple courtyards” (Wertz). Peking Opera is a blend of “singing, reading, acting, fighting, and dancing” (ebeijing).”Today as in the past century, performers are first trained in acrobatics, followed by singing and acting” (Wertz).