Research on the Singing Art of Liao Changyong

Miaozhuang Wang; Palphol  Rodloytuk

doi:10.60027/iarj.2026.e292651

Authors

Miaozhuang Wang Shinawatra University, Thailand https://orcid.org/0009-0001-2184-9252
Palphol Rodloytuk Shinawatra University, Thailand https://orcid.org/0009-0002-1208-2763

DOI:

https://doi.org/10.60027/iarj.2026.e292651

Keywords:

Liao Changyong, Bel Canto, Vocal Technique, Cross-genre Singing, Chinese Vocal Music

Abstract

Background and Aims: This study explores the vocal art of Chinese baritone Liao Changyong, focusing on how his formative experiences, professional training, and artistic practice shaped his distinctive performance style. The aims are threefold: first, to investigate the relationship between Liao’s personal background and his professional achievements; second, to analyze his singing techniques across breathing, phonation, resonance, and diction; and third, to evaluate how his cross-genre practice has influenced the localization and public acceptance of bel canto in China.

Methodology: The research adopts a mixed approach, combining literature review, qualitative performance analysis, and quantitative survey data from 160 audience members. Performances such as The Shade of Green, Mother’s Love, and Three Stanzas of Yangguan were analyzed, while audience feedback on bel canto acceptance was statistically examined using SPSS.

Results: Findings reveal that audience acceptance of bel canto increased by 23–37% following exposure to Liao’s performances, with 52% of respondents expressing interest in crossover vocal training.

Conclusion: Unlike earlier studies that mainly provided descriptive accounts of Liao Changyong’s artistry, this research integrates empirical audience survey data and technical spectral analysis to demonstrate how his cross-genre practice not only adapts bel canto to Chinese phonology but also measurably increases public acceptance. The proposed three-stage pathway—technical localization, repertoire innovation, and cultural identity reconstruction—offers a replicable framework for future studies on the nationalization of Western art forms in China.

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