The Singing of Ancient Chinese Poetry in the Modern Context

Ning  Xu; Manoon  Tho-ard

doi:10.60027/iarj.2026.e292287

Authors

Ning Xu Shinawatra University, Thailand https://orcid.org/0009-0001-2184-9252
Manoon Tho-ard Shinawatra University, Thailand https://orcid.org/0009-0002-1208-2763

DOI:

https://doi.org/10.60027/iarj.2026.e292287

Keywords:

Ancient Chinese Poetry, Vocal Art, Singing Technique, Cultural Inheritance, Traditional and Modern Styles

Abstract

Background and Aims: The singing of ancient Chinese poetry represents a unique intersection of literature, music, and cultural heritage. In the context of modernization and cultural globalization, this study explores how the performance of ancient poetry songs evolves across different historical stages. The research aims to analyze how socio-cultural environments shape vocal styles, examine differences in singing techniques, and assess the balance between tradition and innovation. This study aims to (1) trace the historical development of the singing art of ancient Chinese poetry from the Tang and Song dynasties to the present; (2) compare the vocal techniques and expressive styles used in traditional and modern interpretations; and (3) explore the cultural value, aesthetic evolution, and contemporary challenges of this art form in the modern context.

Methodology: Employing a mixed-method approach, the research includes score analysis, acoustic measurement of 15 representative singers using Sonic Visualiser, and surveys of 500 participants from various backgrounds. It also integrates qualitative methods, such as in-depth interviews with 40 practitioners and four months of field observation across six cultural institutions. Textbook coding, bibliometric mapping, and cluster analysis were used to evaluate pedagogical trends and style typologies.

Results: The findings reveal that traditional and modern singing practices share a foundation in "singing according to words" and emotional expressiveness, yet differ significantly in musical techniques, aesthetic orientation, and audience perception. Modern interpretations integrate bel canto, pop, and multimedia elements, while traditional styles emphasize poetic subtlety and tonal integrity. Public preference varies across generations, with younger audiences favoring innovation and cross-media formats. Ancient poetry singing has evolved through four major periods—Tang-Song literati chanting, Republican-era reform, post-1949 standardization, and 21st-century hybridization. While traditional modes value elegant restraint and Chinese instrumental accompaniment, modern styles prioritize individuality, dramatic contrast, and internationalization. Challenges remain in cultural transmission, audience engagement, and reconciling traditional charm with modern aesthetics.

Conclusion: The art of singing ancient Chinese poetry embodies a living cultural memory, combining historical depth with artistic innovation. Its survival and revitalization require interdisciplinary support, educational reform, and technological adaptation. A culturally responsive and scientifically informed approach can promote sustainable development and global appreciation of this intangible heritage.

References

Fan. (2008). Research on the phenomenon of musical understanding (Doctoral dissertation, Nanjing University of the Arts).

Li, J. (1994). The concept of structural force in traditional Chinese music (Part II): The relationship between the structure of traditional music and Chinese classical literature and drama (Structure). Journal of the Central Conservatory of Music, 2, 53–62.

Li, J. (1995). The manifestation and concealment of musical structural techniques: The concept of structural force in traditional Chinese music (Part III). Journal of the Central Conservatory of Music, 3, 31–41.

Li, J. (2016). Luo Zhongrong: Research on the creation of artistic songs in ancient Chinese poetry—Taking Zhegu Tian as an example. Journal of Huaihai Institute of Technology (Humanities and Social Sciences Edition), 9, 66–71.

Ma, L. (2016). The empty melody: A study on the self-composed music of Jiang Kui of the Southern Song Dynasty. New Sounds of Yuefu Journal of Shenyang Conservatory of Music, (3), 49–58.

Qin, D. (2014). Analysis of the song Chaitou Feng: Zhouyi and Lu Youzhi’s literary and musical connection. Music Composition, 7, 120–122.

Wang, D. (2014). Melancholy and low: An artistic feature of Jiang Kui’s self-composed song in the Southern Song Dynasty—A case study of the characteristics of Apricot Blossoms and Heavenly Shadows. Music Composition, 8, 139–141.

Wang, G. (2012). Research on the singing of Li Yinghai’s ancient poetry art song “Three Tang Poems” (Master’s thesis, Zhejiang Normal University).

Wang, Y. (2023). The singing and interpretation of the ancient poetry song “The Seven-Step Poem” by Gu Jianfen (Master’s thesis, Inner Mongolia University of Arts).

Wang, Z., & Wang, Y. (2015). Pitch elements and structural functions of traditional Chinese musical structures. Journal of Nanjing University of the Arts (Music and Performance Edition), 2, 39–44, 161.

Yang, H. (2003). Realization and interpretation of the meaning of musical language. Symphony: Journal of Xi’an Conservatory of Music, 3, 15–19.

Yang, Y. (1956). A preliminary study on the ancient tune Three Stanzas of Yangguan. People’s Music, 6, 21–23.

Yu, T. (2020). Research on the integrated educational thought of poetry, rites, and music in Pre-Qin Confucianism (Doctoral dissertation, Shanghai Normal University).

Zhi, K. (2019). To “clear and elegant”: An exploration of the aesthetic of Jiang Kui’s lyrics and music. Journal of Tianjin Conservatory of Music, 2, 81–88.