How does the pronunciation of native languages affect beginning singers? A research focusing on native Mandarin Chinese and American English speaking singers

The classical style of singing is taught at music institutions around the world as a mainstream artform. The main languages of classical vocal repertoires are Italian, German, French and English, which means most classical singers need to sing in non-native languages. When people learn a new sound from a foreign language, they often search for reference points within their native language(s), which usually is the reason behind singers performing with incorrect accents or diction. This research focuses on beginning singers whose native language is either Mandarin Chinese or American English. This research introduces the romanization system and basic pronunciation rule of Mandarin Chinese, and explains the reasons for common diction issues exemplified by Mandarin Chinese singers, singing in any of the four Western languages. On the other hand, American English, as one of the four Western singing languages, is widely used in twentieth- and twenty-first-century vocal repertoires. North American English accents contain sounds that make non-native singing difficult. Meanwhile, certain allophones confuse beginning singers, whose primary language is American English, when they sing in the other three Western languages. A brief recapitulation of American English pronunciation is presented in this research, through which discussions are focused on problematic vowels and consonants, and all nonexistent vowels and consonants, that beginning American singers have to deal with when they sing in the other three Western languages. This research explores how Mandarin Chinese and American English beginning singers sing in their own languages in order to investigate the impact of native language pronunciation on foreign-language singing, and to identify the common vocal faults and issues of incorrect diction that frequently coincide with cross linguistic singing

Handel opera presentation, past and present : a thesis presented in partial fulfilment of the requirements for the degree of Master of Music at Massey University, Wellington, New Zealand

What differences, if any, exist between the performance of Handel opera during his lifetime, and contemporary performances? To what extent do these differences reflect the need to adapt Handel's operas when performed out of their original context, and how does knowledge of original performance practices enhance the singer's ability to interpret and present characters in performance? This study investigates the ideas outlined above, exploring the social and cultural environment of opera seria, its conventions, and the way in which Handel's operas were presented during his lifetime, later providing a comparison with contemporary productions. It aims to enhance understanding of the production and musical aspects of staging a Handel opera, and to illustrate how this knowledge can assist in performance

Yardtapes: History, Identity and Diaspora in a Dancehall Style

A thesis submitted in part-fulfilment of the requirements of the degree of M.A., Institute for the Study of the Americas, 2008

“Lost in Translation? Transnational American Rock Music of the Sixties and its Misreading in 1980s China”

Excerpt from The Power of Culture: Encounters between China and the United States, edited by Priscilla Robert

Christina Fuhrmann, Foreign Operas at the London Playhouse: From Mozart to Bellini (Cambridge: Cambridge University Press, 2015)

No abstract available

Roar of the Thunder Dragon: the Bhutanese Audio-visual Industry and the Shaping and Representation of Contemporary Culture

The Bhutanese audio-visual industry plays a critical and important role in the creation of cultural products, which are consumed by the masses. The industry's significant role in the preservation and promotion of culture is worthy of state support. Although comprehensive data is not available on the industry, available data and anecdotal evidence prove that the industry is growing and playing its own role in shaping and representing contemporary culture in Bhutan

From Modern Rock to Postmodern Hard Rock: Cambodian Alternative Music Voices

Cambodian modernity was driven by the political agenda of the Sihanouk government beginning in the 1950s, and Cambodian rock and roll emerged in the 1960s in step with Sihanouk\u27s ambitious national modernization project. Urban rockers were primarily upper-class male youths. In. the postcolonial era rock and roll was appropriated from abroad and given a unique Cambodian sound, while today\u27s emerging hard rock music borrows foreign sociocultural references along with the music. Postmodern Cambodia and its diaspora have seen the evolution of a more diverse music subculture of alternative voices of hard rock bands and hip-hop artists, as well as post-bourgeois and post-male singers and songwriters. Keywords: Modernity, Postmodernity, Cambodian Music, Alternative Voices, Rock, Hard roc