







































 Humanities and Social Science Research; Vol. 8, No. 3; 2025 

ISSN 2576-3024   E-ISSN 2576-3032 

https://doi.org/10.30560/hssr.v8n3p86 

 86 Published by IDEAS SPREAD 

 

Vocal Techniques and Interpretation in Performing Chinese Art Songs 

Based on Mao Zedong's Poetry 

Xiang Gao1,2 & Yap Jin Hin1 

1 Sultan Idris Education University, Tanjung Malim, Malaysia 

2 Dalian University, Dalian, Liaoning, China 

Correspondence: Dr. Yap Jin Hin Sultan Idris Education University, Tanjung Malim, Malaysia. 

 

Received: April 30, 2025; Accepted: May 31, 2025; Published: June 10, 2025 

 

Abstract 

Mao Zedong’s poetry significantly influenced Chinese vocal music in the 20th century and has been reflected in 

the creation of many Chinese Art songs. These songs are highly regarded in the Chinese music industry and 

are considered great works of Chinese literature and art. However, there is a lack of discussions on Chinese Art 

Songs based on Mao Zedong’s poetry. This research aims to interpret and perform the musical styles of selected 

Chinese art songs based on Mao Zedong's poetry. This study encompasses three research objectives. The first 

is to identify the characteristics inherent in Chinese Art Songs based on Mao Zedong’s poetry. The second 

objective involves the interpretation of the technical aspects of Mao Zedong’s poetry in the context of 

Chinese art songs. Lastly, the third objective aims to perform selected Chinese art songs based on Mao 

Zedong’s poetry in the form of recitals. This study will be conducted through the practice-based research 

framework, wherein textual and non-textual documentation will be utilized to report on the practice. By exploring 

the integration of Mao Zedong’s poetry into art songs, this study provides a distinct approach to interpreting 

and conveying his poetry's emotions, themes, and ideas. 

Keywords: Mao Zedong’s poetry, Vocal Performance, Chinese art songs based on Mao Zedong’s poetry 

1. Introduction 

Focus on vocal techniques and interpretation in performing Chinese art songs based on Mao Zedong's poetry 

stems from both personal and academic experiences. In 2012, attended the "Mao Zedong Poetry Art Songs" 

concert sung by Professor Liao Changyong at Shanghai Cultural Square. Professor Liao Changyong’ s 

professional performance quality and the monumental artistic features of the selected pieces—both in 

emotional expression and vocal technique—left a lasting impression on me, deepened my appreciation for this 

genre of music also sparked my passion to further explore the musical and vocal aspects of these works.  

Mao Zedong’s poetry, with its profound literary connotations, unique rhythm, and emotional depth, offers 

abundant material for vocal performance (Chen, 2015). Through the study and practice of these works, I have 

sought to construct a three-dimensional analytical framework of "historical context - musical form - vocal 

practice," focusing on how composers transform revolutionary romanticism into musical language and 

exploring the potential of bel canto technique to preserve national musical culture. This res earch not only 

carries forward the artistic philosophy of Professor Liao Changyong but also actively contributes to the 

development of the Chinese vocal school, providing a historical perspective and practical reference for 

contemporary vocal art. 

By undertaking this research, I hope to offer a more comprehensive understanding of the vocal techniques and 

interpretation required for the performance of Chinese art songs based on Mao Zedong's poetry. Through the 

exploration of these pieces, I aim to contribute to the further development of this repertoire, offering a valuable 

resource for vocal music majors, enthusiasts, and performers. Additionally, I wish to bring attention to the 

cultural significance and musical richness of this body of work, encouraging a deeper appreciation for the 

intersection of politics, poetry, and music in the context of Chinese art songs.  

1.1 Background of the Study 

This study provides a detailed analysis of these challenges and practical solutions based on personal experience 

and research, which helps to gain a deeper understanding of the performance of Chinese art songs based on 

Mao Zedong's poetry. It not only provides guidance for tenors and other singers but also offers a framework 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 3; 2025 

 87 Published by IDEAS SPREAD 

 

for approaching these works with sensitivity and artistic depth. Ultimately, this research advances vocal 

artistry while fostering a greater appreciation for the intersection of Mao Zedong's poetry, music, and vocal 

performance. The significance of this study lies in its contribution to the field of vocal performance, 

particularly in the interpretation of Chinese art songs based on Mao Zedong’s poetry. This research sheds light 

on the challenges involved in performing these songs and proposes solutions that enhance both vocal technique 

and interpretative depth for future performers. The study also encourages a deeper appreciation of the 

intersection between Chinese poetry, Western art song, and vocal performance, highlighting the importance 

of nuanced interpretation in achieving a successful and meaningful performance.  

1.2 Problem Statement 

The analysis of songs adapted from Mao Zedong's poems is often limited to a single piece and its representative 

works, and rarely provides a detailed performance analysis based on the overall arrangement of the entire 

concert repertoire and the connections between each repertoire. The performance, technical challenge and 

subtle emotional delicacy of his works are the keys to a successful performance. Although the historical and 

ideological aspects of Mao's work are often discussed, the specific challenges of interpreting his poetry within 

the framework of vocal performances have not been fully explored. This research gap highlights the need for 

a more detailed discussion of the vocal techniques, interpretive strategies, and performance inputs required for 

the successful interpretation of these challenging works.1.3The Limitation of StudyThe scope of the study is 

limited to the poetry written by Mao Zedong during the Chinese Agrarian Revolution and New China. The 

repertoire selected for this study is limited to tenor voices for the recital of Chinese art songs based on Mao 

Zedong's poetry. 

2. Literature and Artistic Review 

2.1 The Relationship Between Poetry and Art Songs 

The integration of poetry and music, a symbiotic relationship that underpins many of the world's most treasured 

cultural expressions, finds its roots in the ancient civilizations of the world. In particular, the oral traditions 

that flourished in societies like ancient China, Greece, and later in medieval Europe, clearly demonstrate the 

close linkage between the poetic form and its musical counterpart (Wellek, 1962). The relationship between 

poetry and music was not merely incidental, but foundational to the way these civilizations communicated 

complex emotions, ideologies, and narratives (Dabney, 1927). Poetry was not simply a literary expression in 

these contexts, but rather a performance art intertwined with music, where each medium enriched and 

complemented the other. 

The early Chinese art song movement, which combined Western harmonic techniques with Chinese literary 

forms, set a precedent for the later treatment of Mao Zedong's poetry (Song, 2021). During the period of Mao 

Zedong's leadership, composers adapted his revolutionary poetry into art songs that were meant to reflect the 

ideological and political sentiments of the era, as well as the aesthetic ideals of Chinese national ism (Wang, 

2024). These early art songs, such as those by composers like Li Jiefu (李劫夫), merged the revolutionary 

fervor of Mao Zedong’s poetry with the formal structures of Western classical music, demonstrating how art 

song could be employed to serve both aesthetic and political purposes (Wei & Wei, 2020). In the context of 

Mao Zedong’s art songs, the fusion of poetry and music would become even more pronounced. As noted by 

Xu (2023), the adaptation of Mao Zedong's works into art songs was not just a musical endeavor but also a 

highly politicized one. Mao Zedong’s poetry was infused with ideological content, and composers during this 

period were tasked with creating musical settings that not only highlighted the beauty of the poetry but also 

reinforced its political messages (Fan, 2018). This dual purpose of the art songs—both as works of cultural 

expression and vehicles for political ideology—reflects a significant evolution of the Chinese art song genre. 

Unlike earlier, more purely aesthetic art songs, Mao Zedong’s poetry required a careful balance of musical 

and ideological elements to ensure that the message was both artistically compelling and politically appropriate 

(Wan, 2024). 

2.2 Mao Zedong's Poetry: Chinese Art Songs Based on the Poetry of Political Leaders 

Mao Zedong's poetry, as a unique cultural phenomenon in Chinese history, has been widely integrated into the 

creation of Chinese art songs. This integration not only reflects the political and historical context but also 

demonstrates the artistic value of combining political leadership with poetic expressiveness.  

2.2.1 The Aesthetic Foundations of Mao Zedong's Poetry 

Mao Zedong's poetry is celebrated for its integration of political vision and artistic excellence, a combination 

that makes it particularly suitable for musical adaptation.  



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 3; 2025 

 88 Published by IDEAS SPREAD 

 

As highlighted by Luo (2017), Mao Zedong's poetry exhibits some distinct aesthetic features . First, Epic 

Beauty. Mao Zedong's poetry serve as a historical chronicle of modern China, documenting key political and 

military milestones from the Chinese Revolution to the establishment of the People's Republic. poetry such 

asQinyuanchun·Changsha, Pusaman·Huanghelou, and Qilv·Renmin Jiefangjun Zhanling Nanjing trace the 

trajectory of China's transformation through revolutionary struggle (Liu, 2008). These works a re not merely 

historical records but artistic representations of collective memory, characterized by grand imagery and 

panoramic visions (Li, 2023). 

Second, Human Beauty. Beyond political grandeur, Mao Zedong's poetry reveals deep emotional layers, 

reflecting his personal relationships and empathy for the masses. The poem Dielianhua·DaLiShuyi exemplifies 

this human touch, where Mao Zedong combines revolutionary idealism with personal grief over the loss of his 

wife Yang Kaihui ("I lose my proud poplar, you lose your willow"). The term "proud poplar" symbolizes both 

Yang's political resilience and their intimate bond, showcasing Mao Zedong's ability to balance public duty 

with private emotion (Wang, 2011). In musical settings, these emotional nuances are often emphasized through 

lyrical melodies and expressive vocal techniques, allowing listeners to connect with the leader's humanity 

behind the political icon. 

Third, Personality Beauty .Mao Zedong's poetry reflects his towering personality—firmness, vision, and 

magnanimity—through expansive natural imagery. Lines like "Looking over ten thousand mountains dyed 

red" (Qinyuanchun·Changsha) and "A thousand miles of ice, ten thousand miles of swirling snow" 

(Qinyuanchun·Xue) embody his broad perspective and unyielding spirit  (Wang, 2011). Composers often 

translate this grandeur into musical structures, using orchestral crescendos and powerful choral arrangements 

to mirror the poetic imagery. The resulting art songs thus become not just musical adaptations but sonic 

representations of Mao Zedong's leadership persona.  

Fourth, Philosophical Beauty . Mao Zedong's verses are replete with philosophical insights, blending Marxist 

dialectics with poetic metaphor. Phrases like "The human world's right path is vicissitudes" (Qilv·Renmin 

Jiefangjun Zhanling Nanjing) and "There is no difficulty in the world if one dares to scale it" 

(Shuidiaotou·Chongshang Jinggangshan) offer both political wisdom and universal truths (Liu, 2008; Xu, 

2001). In musical settings, these philosophical elements are often conveyed through modal shifts and harmonic 

progressions that evoke contemplation and resolve, transforming political messages into aesthetic experiences.  

2.2.2 Historical Context of Mao Zedong's Poetry in Art Song Creation 

Early Development and Pre-Cultural Revolution Period: The integration of Mao Zedong's poetry into art songs 

can be traced back to the (Anti-Japanese War) era. This period saw the emergence of numerous musical works, 

with multiple composers setting the same poem to different melodies, demonstrating the rich potential of Mao 

Zedong's poetry as a source of musical inspiration (Liu, 2011). The 1960s witnessed the publication of the 

first large-scale collection of Chinese art songs based on Mao Zedong’s poetry, The Great Chorus of Mao 

Zedong's Poetry, compiled by the student music creation group of Peking University, marking a significant 

milestone in the formalization of this art form (Xu, 2023).  

The Cultural Revolution (1966-1976) era saw a dramatic increase in the production and dissemination of 

Chinese art songs based on Mao Zedong’s poetry. The political climate of the time played a crucial role in 

promoting these songs. Unlike political slogans, Mao Zedong's poetry offered a more artistic and lyrical 

expression, which filled the spiritual void left by the suppression of other forms of music.  

A deep understanding of the historical and cultural context of Mao Zedong's poetry is essential for accurate 

artistic interpretation. As Zhu (2015) stressed, each poem was written in a specific historical period, reflecting 

the social, political, and cultural circumstances of the time. Singers need to be aware of this historical 

background to fully capture the solemnity, hardship, and unwavering determination expressed in the poem. 

Singers not only need to accurately reproduce the musical notes but also effectively convey the emotional 

message of the art songs (Sun & Fu, 2024). Qian (2018) analyzed the emotional spectrum of Chinese art songs 

based on Mao Zedong's poetry and found that they range from the joy of victory to the grief of sacrifice, from 

the love for the motherland to the longing for a better future. To convey these complex emotions, singers must 

use a combination of vocal techniques, body language, and facial expressions.  

2.3 Vocal Performance 

Vocal performance in Chinese art songs, particularly those based on Mao Zedong's poetry, demands a careful 

blend of historical understanding, technical vocal skills, and interpretive finesse. The fusion of traditional 

Chinese literary and cultural elements with Western vocal techniques creates a unique performance style. 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 3; 2025 

 89 Published by IDEAS SPREAD 

 

Singers must navigate the complexities of these songs, which require not only mastery of vocal technique but 

also an ability to convey the depth and emotion inherent in Mao Zedong's poetry.  

One of the primary challenges in performing Chinese art songs is balancing the clarity of diction with 

expressive tonal qualities. As Meng (2021) notes, Chinese art songs combine elements of traditional Chinese 

folk singing with Western classical vocal training. Unlike Western art songs, which often prioritize clear 

phrasing and tonal beauty, Chinese art songs place a greater emphasis on vocal color and emotional depth. 

Mao Zedong's poetry, rich in dramatic and politically charged content, demands a vocal s tyle that highlights 

both emotional resonance and tonal richness. Singers must find ways to maintain clarity in the pronunciation 

of Mandarin while delivering a performance that captures the expressiveness of the poetry. This requires a 

nuanced approach to breath control, resonance, and vowel modification, especially given the tonal nature of 

the Chinese language (Ying, 1981). 

Moreover, the performance of Chinese art songs often draws upon "bel canto" techniques, which emphasize 

smooth, legato singing and a beautiful tone. However, as Kong (2024) argues, these techniques must be 

adapted to reflect the unique qualities of Chinese poetry. Singers must adjust their phrasing to accommodate 

the natural rhythms of the Chinese language, ensuring that the vocal delivery aligns with the music and poetry. 

This flexibility in pitch and rhythm allows the performer to convey the meaning of the text more fully, while 

respecting the intricate structure of both the music and the poetry. The interpretive aspect of vocal performance 

in these songs is closely tied to the cultural and historical context of Mao Zedong's poetry. Mao Zedong's 

works often reflect revolutionary zeal, national pride, and deep emotional intensity, which can be challenging 

for performers to express. As Meng (2021) suggests, singers must interpret Mao Zedong's poetry not only with 

an understanding of its emotional tone but also with an awareness of its political and historical significance. 

For example, Mao Zedong's poem "Changsha," with its references to revolutionary struggle, calls for a 

performance that conveys the passion and intensity of the subject matter. This interpret ive challenge is 

compounded by the fact that Chinese art songs typically emphasize a more subtle form of expression than the 

dramatic, operatic style found in Western vocal traditions (Fang, 2014). Singers must strike a balance between 

projecting the emotions of the text and adhering to the restrained, nuanced performance style that is 

characteristic of Chinese classical music. 

In addition to these vocal and interpretive techniques, the use of vibrato and dynamic variation plays a 

significant role in the performance of Chinese art songs. As Zeng (2024) points out, Chinese singers often 

employ a more restrained vibrato compared to their Western counterparts, resulting in a clearer and more 

focused tone. Dynamic flexibility is also crucial, as Mao Zedong's poetry shifts from moments of quiet 

reflection to intense revolutionary fervor. Singers must adapt their vocal delivery to these  varying emotional 

intensities, ensuring that the performance reflects the full range of Mao Zedong's poetic vision. Finally, 

physical and mental preparation is essential for the successful performance of Chinese art songs. Regular vocal 

exercises, as emphasized by Xu (2023), are necessary to strengthen breath support and improve vocal 

flexibility. Additionally, mental preparation is crucial, as performers must engage deeply with the emotional 

and historical context of Mao's poetry. This involves understanding the political and social background of the 

poetry, as well as preparing oneself emotionally to convey their depth and intensity.  

3. Methodology 

In this chapter, the researcher outlines the methodology and methods employed to achieve the research 

objectives. The role of the researcher in this creative work study is also clarified, along with a discussion of 

the research design and conceptual framework. These elements will be applied in the following chapter and 

during the practical performances (two recitals). The recital presentations will serve as experiments to test the 

validity of the proposed theory. 

3.1 Research Methodology/Research Paradigm 

basedresearch generally follows a cyclical approach involving creation, reflection, and evaluation of the 

creative process, often in collaboration with others. The researcher immerses themselves in the creative 

practice, analyzes the process and its outcomes, and uses these reflections to generate new insights and 

knowledge. In this creative study, the integration of artistic practice and musical interpretation is applied to 

specific artworks, which serve as the focus of the research. Throughout this creative journey, the supervisor 

assists the researcher in completing the artistic practice. The singing experiences gained during this process 

are then used to reflect on and explore other forms of vocal works.  

 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 3; 2025 

 90 Published by IDEAS SPREAD 

 

3.2 Re-Creation and Re-Creator 

During there - creation process, performers use their voices or musical instruments to derive something new 

from the compositions created by composers. Unlike literature, art, and sculpture, which can be directly 

admired, music needs to be communicated to the audience through specific and perceivable means, such as 

singing, instrumental performance, or conducting. Only in this way can the aesthetic value of musical and 

artistic works be realized. 

Thomson and Jaque (2016) were among to regard performers as creators. According to Thomson and Jaque, 

performers draw on their personal experiences, emotional sensibilities, and imagination when engaging with 

a musical repertoire. They have the capacity to mold the musical concepts put forward by composers. 

Sometimes, their interpretations are restricted to a fixed musical meaning; at other times, performers introduce 

substantial modifications. Taruskin (1995) concurred with Meyer. He elaborated that "Perfo rmance - practice 

research, at its best, endeavors, based on documentary or statistical evidence, to bridge the divide between 

what is inscribed in surviving old musical texts and what was actually audible in typical contemporary 

performances" (p.18). Over time, the relationship between composers and performers has evolved. Taruskin 

also challenged the traditional notion that composers hold sole authority over music. He recognized that 

composers and performers have distinct priorities and that performers possess their own artistic viewpoints. 

As he put it, "performers should be granted some latitude in interpretation" (p.14). It is performers who breathe 

life into music, infusing it with their unique interpretations, expressions, and creativity. Instead of m erely 

adhering to the composer’s original intentions, performers should assert their individuality in artistic decision 

- making, in capturing subtleties, and in their personal engagement with the music.  

The role of re-creators is to safeguard the originality of composers’ musical works. This research on creative 

work focuses on the perspective of re - creators in performance rather than composition. Rabin (1972) 

considered performers as re - creators of music. He pointed out that composers are often more open to altering 

their compositions compared to musicologists who might expect a more standardized performance each time. 

Rabin further proposed that a performer’s understanding of a musical piece is influenced by multiple factors, 

including their technical proficiency, musical preferences, comprehension of the composer’s intentions, and 

the capabilities of their accompanying artists. Hunter (2005) posited that performance is an act of 

recombination. Through re - imagination and performance experience, performers convey the composer’s 

ideas to the audience. Kaučič (2005) stressed that re - creators situate a song within a specific context and 

imbue it with their personal aesthetic sensibilities. He even explored how re - creators might modify the way 

a song is sung, enabling the song to acquire new meaning either in response to changing circumstances or 

alongside its original meaning. Wistreich and Potter (2013) argued that the view of him and some performers  

as the performer as an interpreter of musical scores was inadequate. In his opinion, performers should be seen 

more as co-creators or re-creators. This stance was supported by Park-Fuller, Potter, and Achieng’Akuno. 

Park-Fuller (2003) suggested that performers can assume various roles, such as speakers, listeners, or re - 

creators. Wistreich and Potter (2013) advocated that performers should not be merely "interpreters" of the 

score. The more they incorporate their own insights into the score, the more equitable their relationship with 

the composer becomes. Achieng’Akuno (2019) believed that performers should function as re - creators in 

musical and artistic endeavors. 

As are - creator, the researcher opted to perform Chinese art songs inspired by Mao Zedong's poetry. 

Composers offer their unique creative ideas to performers. In a practice- based research framework, performers 

and singing techniques collaborate to interpret and generate meaning. The researcher, leveraging this 

opportunity as a re-creator, infuses new interpretations into the musical scores. Starting from the scores, the 

researcher employs diverse methods during rehearsal. Through vocal techniques and artistic acumen, the 

researcher deciphers the composer's creative intent and the historical backdrop. With proficient vocal skills as 

a foundation, the researcher skillfully integrates artistic expression techniques such as tone modulation, tempo 

control, timbre manipulation, volume variation, and embellishment. Moreover, elements like style, emotion, 

artistic imagery, and imagination are effectively synthesized. In addition, as a re-creator, the researcher aims 

to accurately gauge the artistic sensibilities of the audience and guide their aesthetic preferences. This creative 

research contributes to expanding the audience's understanding of the selected works. By enhancing 

knowledge about these pieces, it aligns with the principles of practice- based research expounded in this 

chapter. 

3.3 Phase of Investigation 

Referring to the research question, the researcher divides the artistic design into three phases of investigation.  



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 3; 2025 

 91 Published by IDEAS SPREAD 

 

Research Question 1. What are the musical expressions of Chinese art songs based on Mao Zedong's poetry?  

The first investigation stage of this creative research is to analyze selected Chinese art songs based on Mao 

Zedong's poetry, conduct thematic analysis, and finally determine the singing repertoire.  

Research Question 2. When singing Chinese art songs based on Mao Zedong’s poetry, what vocal technique 

and interpretation guidelines are essential to accurately convey the emotion and context of the poetry?  

The second phase of this creative research is to determine the singing techniques and related theories for 

performing Chinese art songs based on Mao Zedong's poetry, in order to ensure accurate song styles.  

Research Question 3. How to perform the selected Chinese art songs based on Mao Zedong's poetry in the 

form of recital? 

This researcher’s third phase of investigation is to perform the repertories in a recital.  

3.4 Conceptual Framework 

According to Grant and Osanloo (2014), the conceptual framework provides a foundation or support point for 

a research plan, which can make the research paper more beneficial and organized. About the vocal techniques 

and interpretation in performing Chinese art songs based on Mao Zedong's poetry, this study will use theory 

and practice together to form a Conceptual Framework to gain a comprehensive understanding, which is 

lacking in previous studies. 

 

Figure 1. The relationships between all variables that make up this study 

 

This study uses Chinese art songs based on Mao Zedong's poetry as the research background, and uses literature 

review and artistic review to address the three research questions of this study. The three research questions are: 

1) What are the musical expressions of Chinese art songs based on Mao Zedong's poetry? 2)When singing Chinese 

art songs based on Mao Zedong’s poetry, what vocal technique and interpretation guidelines are essential to 

accurately convey the emotion and context of the poetry? 3) How to perform the selected Chinese art songs based 

on Mao Zedong's poetry in the form of recital? The research questions are answered from three aspects: selection 

scope, technical aspect, and practice. 

The first research question of this study explores how to analyze the selected Chinese art songs based on Mao 

Zedong's poetry and solve them from the perspectives of music elements, music content, and music styles. As the 

main component, to analyze the selection range of Chinese art songs based on Mao Zedong's poetry in this study. 

At the same time, official documents, Chinese art songs based on Mao Zedong's poetry, and other materials will 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 3; 2025 

 92 Published by IDEAS SPREAD 

 

be consulted as necessary conditions to ensure the credibility of the research. This section is revealed through 

literature review, music analysis, and practice. 

The second research question of this study starts from the theory of bel canto, using Yizixingq, using Yiqiangxingzi, 

and Runqiang to develop vocal techniques and interpretation guidelines for singing Chinese art songs based on 

Mao Zedong's poetry. This part will also be revealed through literature review and practice during the research 

process. 

The third research question of this study starts with the interpretation of the performance of 15 musical works. 

This section is expressed through five parts: reviewing revolutionary events, cultivating revolutionary spirit, 

practicing heroism, singing revolutionary hymns and experiencing revolutionary tenderness, thus completing 

music practice. 

This conceptual framework, as shown in above figure, explains the researcher’s performance investigation. There 

are two aspects of an investigation conducted: the first one relates to the theories and the second applies the theories 

in practice. The theories are based on literature and performance review, while the practice is led by feedback to 

theories. Meanwhile, the practical investigation covers the analysis of singing techniques, different languages, 

unique expressions, and musical elements. All of them will compose a practice design of applying Belcanto singing 

techniques in performing Chinese art songs based on Mao Zedong poetry. In summary, this chapter provides 

practice- based research, clearly expresses the researcher’s standing in the research, and builds a conceptual 

framework to make the research process clearer. The methods discussed in this chapter will be applied in the next 

chapter. 

4. Referencesartistic Creative Process(Process and Findings) 

This chapter focuses on answering three key questions raised to verify the theme of this creative research. When 

using Bel Canto to sing Chinese art songs based on Mao Zedong's poetry, singers need to analyze musical elements, 

understand musical content , follow musical styles, and apply singing theory to jointly solve the problems and 

challenges encountered in the singing process. The answers to these questions not only help clarify the goals and 

directions of the creation, but also provide theoretical support for further research and creation. 

4.1 Finding of Research Question 1 

This section mainly explores how to analyze the selected Chinese art songs based on Mao Zedong's poetry from 

three aspects: music elements, music content, and music style, and provides analysis and support based on the 

selected specific songs in this process. 

4.1.1 Various Musical Elements 

Chinese art songs based on Mao Zedong's poetry are an art form composed of multiple elements, which work 

together to create a rich and colorful musical experience. This section mainly introduces Beijing Opera elements, 

苏州评弹 Suzhou Pingtan music elements, and Chinese and Western music elements. 

4.1.1.1 Beijing Opera Elements 

Chinese art songs based on Mao Zedong's poetry use elements of opera music. Opera has a long history of 

development in China. There are many types of Chinese opera, with a total of more than 360 types of operas in 

various ethnic regions (Jiang, 2018) . In the structure of opera music, it mainly includes two parts: vocal music 

and instrumental music. Vocal music mainly refers to singing and recitation, which is also the main body of opera 

music. Instrumental music, as a means of expression, Including 唱 singing, 念 reading, 做 doing and 打 playing 

as accompaniment to achieve the role of rendering and setting off the atmosphere (Dong & Hu, 2017). Among 

them, Beijing Opera, which is used in the composition of Chinese art songs based on Mao Zedong's poetry, 

originated in the late Qing Dynasty and developed from local operas such as 徽剧 Hui Opera and 秦腔 Qin Opera 

(Long, 2016). It is not only a representative of traditional Chinese opera, but also a treasure of Chinese culture. 

The elements of Beijing Opera include music, singing, stage art, role types, performance skills and other aspects, 

which together constitute the core of Beijing Opera art. 

The use of Beijing opera elements not only makes Mao Zedong's poetry vivid, but also fully utilizes the 

characteristics of the changes in the style of opera, whether lyrical, descriptive, passionate or calm, to show the 

great spirit and vigor under the leadership of a great man with the unique charm of opera. 沁园春·雪
Qinyuanchun · Snow created by Tian Feng is one of the songs with Beijing opera elements , which is rich in 

national characteristics. During this period, China was in the middle of the Cultural Revolution. This song was 

created and published by Tian Feng in the 1970s, using the tunes of Beijing opera music. In order to write this epic 

work well, he carefully studied the organizational structure and singing characteristics of Beijing opera music. At 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 3; 2025 

 93 Published by IDEAS SPREAD 

 

the same time, he focused on the singing characteristics of Beijing opera, and integrated the rhyme of 皮黄音韵
Pihuang into the melody, which better reflected the artistic conception of poetry. 

4.1.1.2 苏州评弹 Suzhou Pingtan 

The Chinese art songs based on Mao Zedong's poetry performed in this resreach use elements of Suzhou Pingtan. 

Suzhou Pingtan is a traditional Chinese rap art form that originated in the Jiangnan region. It combines the elements 

of singing and commentary, and expresses stories or emotions through unique rhythms and beats. Pingtan is usually 

performed with traditional musical instruments and vivid language and music, emphasizing improvisation and 

drama, and has high artistry and entertainment value (Gui, 2024) . 

The use of Suzhou Pingtan not only makes Chinese art songs based on Mao Zedong's poetry more lifelike, but 

also makes them more popular. Wang Zhixin's 七律二首·送瘟神 Qilv ershou ·Songwenshen uses a lot of Suzhou 

Pingtan elements. It expresses the satire and prayer for the plague with delicate language and profound emotions. 

The addition of Suzhou Pingtan elements enriches the tone changes of the music work, enhances the expressiveness 

of the work , and has strong social satire and artistry. 

4.1.2 Music Content 

4.1.2.1 Revolutionary and Contemporary 

Mao Zedong's poetry creation stems from his profound understanding of the Chinese revolutionary cause and his 

personal experience (Li, 2023) . When Mao Zedong was engaged in revolutionary activities in the early days, he 

often used poetry as a tool to express his emotions and thoughts. His poetry is not only a literary work, but also a 

tool for revolutionary propaganda. The motivation for the creation of his poetry is not only the need for personal 

expression, but also the purpose of political propaganda. The revolutionary nature of Mao Zedong's poetry is 

reflected in its function of praising the revolutionary spirit and boosting morale. Therefore, the content of these 

songs that are musicalized from Mao Zedong's poetry naturally carries its strong revolutionary nature. In art songs, 

the revolutionary nature of Mao Zedong's poetry is usually expressed through the straightforwardness of the lyrics 

and the majesty of the music. The musical arrangement in the song often highlights its revolutionary significance, 

conveys confidence in the victory of the revolution and contempt for the enemy, and helps shape the collective 

consciousness and social atmosphere of the revolutionary period. 

4.1.2.2 Popularity and Closeness to the People 

Before the Chinese art songs based on Mao Zedong's poetry were created , Mao Zedong's poetry were already 

familiar to the general public and soldiers, which laid a broad mass foundation for the creation and dissemination 

of Chinese art songs based on Mao Zedong's poetry: Under the guidance of Mao Zedong's 两个批示 two 

instructions, the slogan of three transformations was put forward, which had an important influence on the 

formation of "mass character" in Chinese art songs based on Mao Zedong's poetry : The mass song style created 

by revolutionary musicians represented by Nie Er and Xian Xinghai also had a certain influence on Chinese art 

songs based on Mao Zedong's poetry: Many composers of Chinese art songs based on Mao Zedong 's poetry were 

military composers , such as Li Jiefu and Lu Zulong. Their revolutionary struggle experience and deep 

understanding of military life laid a solid foundation for the mass character of the musical style of Chinese art 

songs based on Mao Zedong 's poetry . In the era of war and 以阶级斗争为纲 taking class struggle as the key 

link, the mass nature of Chinese art songs based on Mao Zedong's poetry was reflected in the use of a song form 

that was easily accepted by the majority of soldiers and the masses as an important composing technique, that is, 

composing Mao Zedong's poetry into music at the speed and style of a march, and the form structure of the whole 

score made the poetry more concise and easy to remember and sing. 

4.1.2.3 Education and Publicity 

Chinese art songs based on Mao Zedong's poetry have played an important role in China's modern history. They 

have not only had a profound impact on the artistic level, but also played a significant role in education and 

propaganda. Chinese art songs based on Mao Zedong's poetry not only have rich literary value, but also have 

profound political thoughts. In the process of musicalization, these poetry are given a more intuitive way of 

expression, so that the ideological content can be conveyed to ordinary people more widely and deeply. Through 

the melody and lyrics of the songs, the audience can more easily accept and understand the revolutionary ideas 

and thoughts advocated by Mao Zedong . For example, the poem 浪淘沙·北戴河 Langtaoshai· Beidaihe reflects 

Mao Zedong's pride in the victory of the Chinese revolution and his vision for the future. After musicalization, 

these poetry further inspire people's patriotic feelings and revolutionary spirit through passionate melodies and 

catchy lyrics. At the same time, the educational nature of Chinese art songs based on Mao Zedong's poetry is also 

reflected in moral education. For example, his poetry often reflect the pursuit of revolutionary ideals, care for the 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 3; 2025 

 94 Published by IDEAS SPREAD 

 

nation and the people, and the requirements for personal morality. These contents are further emphasized in the 

songs, so that the audience is not only enlightened ideologically, but also emotionally and morally encouraged , 

such as the art song 卜算子·咏梅 Busuanzi·Yongmei . 

4.1.3 Music Style 

Musical style is one of the core elements of musical art, reflecting the unique characteristics of a period, region, 

culture and individual creation. 

4.1.3.1 Revolutionary Music Style 

Revolutionary music style refers to a musical style formed during the revolutionary movement and revolutionary 

war period, which is mainly used to express revolutionary ideals , passion and fighting spirit, and to inspire and 

encourage the morale of the revolutionary team and the broad masses of the people. Revolutionary music usually 

has distinct characteristics of the times and political background, and conveys revolutionary spirit and ideas 

through music. This musical style was formed under a specific historical background, and through its wide 

dissemination and singing, it inspired the fighting spirit of countless revolutionaries, spread revolutionary ideas 

and culture, and recorded revolutionary history. Since Mao Zedong's poetry creation bears a strong imprint of the 

revolutionary era, the creation of Chinese art songs based on Mao Zedong's poetry creation also has a distinct 

revolutionary music style , which is reflected in the high range, fast speed, strong and powerful passionate melody 

and many typical heroic endings in the works. It is particularly prominent in Mao Zedong's poetry songs that 

express revolutionary war scenes (Wang, 2006) . This is also a major feature of Mao Zedong's poetry song creation.

沁园春·长沙 Qinyuanchun·Changsha composed by Liu Chunan is a song full of revolutionary spirit. Mao Zedong 

used the description of Changsha's autumn scenery and his recollections of his revolutionary struggles in his youth 

to express the revolutionary youth's feelings about the fate of the country and their lofty ambitions to take the 

world as their own responsibility, despise the reactionary rulers, and transform the old China. This is the 

determination of the Chinese people to move forward in the course of history and the strongest voice of the times. 

到中流击水，浪遏飞舟 Strike the water in the middle of the stream, and the waves will stop the flying boat. This 

is an exciting and fascinating landscape, which shows the author and his comrades' heroic and fearless 

revolutionary spirit and lofty ambitions to transform the old China. 

4.1.3.2 Poetry and Musical Style 

Poetry music style is an art form that combines poetry and music, emphasizing both the literary nature of poetry 

and the expressiveness of music. At the same time , poetry music style focuses on the rhythm of the poem itself , 

which is mainly reflected in the regular repetition of sentence structure and the regular alternation of long and 

short sentences. This style occupies an important position in the history of music in China and abroad. By 

integrating the artistic conception and emotion of poetry into music, the work has profound artistic appeal and 

cultural connotation . Mao Zedong claimed that his works were new poetry written in the old style, which was 

written in the form of classical poetry, so it had the rhythmic beauty of classical poetry. As Fan ( 2008) , a famous 

vocal aesthetician in China, said: " The voice of classical Chinese poetry has melodic characteristics. In a sense, 

the melodic meaning of its formal characteristics is more inclined to music. This is probably one of the important 

foundations of the formal beauty of traditional Chinese music." The poetic music style not only pays attention to 

the poetic meaning of the melody, but also pays attention to the expression of rhythm. The melodies in Chinese 

art songs based on Mao Zedong's poetry often fit in with the artistic conception and emotions of the poetry. For 

example, when composing melodies, composer Li Jiefu focused on expressing the imagery and emotions of the 

poetry, and enhanced the expressiveness of the poetry through the ups and downs and changes of the melody. The 

five-character and seven-character sentence structures in 卜算子·咏梅 Busuanzi·Yongmei formed the consistency 

of the rhythm and beat of the sentences, making the changes in the rhythm and rhyme of the poetry appear "long 

and short interlaced, the rhythm is uneven, and thus more varied and full of vitality." The poetic music style (Liu 

& Liu, 2012) achieves the purpose of having a musical ups and downs and flow. 

4.1.3.3 National Music Style 

The manifestations of folk music style include melody, rhythm, harmony, instrument use, singing style, etc. 

Melody usually has a specific scale and mode; rhythm may use local beats and rhythm patterns; in terms of 

harmony, many folk music may rely on simple harmonic structures. In the musical creation of Mao Zedong's 

poetry, elements of traditional Chinese folk music, such as folk songs, operas, classical music, etc. , are widely 

used in his folk music style . This is a common and frequent phenomenon. In the songs written for Chairman Mao 

Zedong's poetry , composers also boldly adopted this style . However, this kind of "taking" is not a simple 

mechanical copy, reproduction or superficial imitation, but a scientific attitude and rigorous academic style. On 

the basis of extensive reading and extensive mastery, through solid learning and long-term creative practice, we 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 3; 2025 

 95 Published by IDEAS SPREAD 

 

can clarify its morphological characteristics, explore its essence, and creatively apply and melt it into our own 

creations, so that we can clearly feel the close flesh-and-blood connection with a certain folk song or national 

music in our works (Wang, 2006) , so that these works have both vivid and distinct national style and vivid and 

lively musical language and new contemporary style. For example, Tian Feng's 沁园春·雪 Qinyuanchun·Snow 

uses Beijing Opera singing to show its national music style. In addition, after the poem 蝶恋花·答李淑一
Dielianhua·Da Li Shuyi was composed , it also adopted the melody style of Hunan folk songs, showing a strong 

local color (Wang, 2011). 

4.3 Finding of Research Question 3 

This section mainly consists of two parts. The first part is to select the repertoire for two solo concerts, and the 

second part is the preparation for the solo concerts. 

4.3.1 Selection of Recital Repertories 

The researchers selected representative poetry from the two periods of China's Land Revolution and the New 

China to arrange the order of performance according to the five major categories of themes expressed in Chinese 

art songs based on Mao Zedong's poetry . The first solo concert selected 12 pieces to perform, and the second solo 

concert added 3 pieces to the first solo concert. 

The 15 selected Chinese art songs based on Mao Zedong's poetry are from famous Chinese composers in this field. 

These composers include Ding Shande, Lu Zulong, Wang Zhixin, Luo Bin, Li Jiefu, Liu Chunan, Tian Feng, Wang 

Yunzhi, Xu Peidong, Jiang Dingxian, Meng Yong and Qu Xixian, a total of 12 famous composers. 

The 15 selected Chinese art songs based on Mao Zedong's poetry are as follows: 西 江 月 ·井 冈 山
Xijiangyue·Jinggangshan composed by Ding Shande, 忆秦娥·娄山关 Yi qine ·Loushanguan composed by Lu 

Zulong, 七律二首·送瘟神  Qilv ershou ·Songwenshen composed by Wang Zhixin, 菩萨蛮·黄鹤楼 Pusa 

man ·Huanghelou composed by Luo Bin, 清平乐·会昌 Qingpingyue·Huichang composed by Ding Shande, 卜算
子·咏梅 Busuanzi·Yongmei composed by Li Jiefu, 沁园春·长沙 Qinyuanchun·Changsha composed by Liu 

Chun'an, 十六字令三首 Shiliuziling Sanshou composed by Ding Shande, 沁园春·雪 Qinyuanchun · Snow 

composed by Tian Feng, 浪淘沙·北戴河 Langtaoshai· Beidaihe composed by Wang Yunzhi, 清平乐·六盘山
Qingpingle·Liupanshan composed by Xu Peidong, 水调歌头·游泳 Shuidiaogetou·Youyong composed by Jiang 

Dingxian, 七律·答友人 Qilv·Dayouren composed by Meng Yong, 贺新郎·挥手从兹去 He Xinlang·Huishou 

congziqu composed by Qu Xixian, and 蝶恋花·答李淑一 Dielianhua·Da Li Shuyi composed by Qu Xixian. 

The creative research uses these songs to compare the performance effects of different types of songs under the 

same singing techniques from different perspectives such as language, lyrics, music, etc. In other words, the 

creative process is attached to the theory, and the researchers take notes in constant discussion after a lot of personal 

practice and mock rehearsals, formal recordings and live performances. 

Overall, the focus of this creative research is to refer to the connotation of Mao Zedong's poetry and the 

composition skills of Chinese composers, and through practice and exercises , establish a new singing theory based 

on Mao Zedong's poetry and use bel canto techniques to sing Chinese art songs based on Mao Zedong's poetry. 

Chinese traditional music elements have deep traces in Chinese art songs based on Mao Zedong's poetry, which 

will provide a reference for singers when singing. In addition, in order to enhance the audience's musical 

experience, there is a short introduction before each work, and slides are used as an aid in the preparation process. 

At the same time, the slides will also show the original text of each Chinese art song based on Mao Zedong's 

poetry, and the English translation will make it easier for the audience to understand the meaning of Mao Zedong's 

poetry. 

4.3.2 Recital Preparation 

The researchers ' singing preparations began with understanding the background of the songs' creation , and the 

songs were divided into five themes according to the content of the poetry. This was followed by practical learning 

with the instructor, including reciting Mao Zedong's poetry , singing techniques of bel canto, and the application 

of these techniques in Chinese art songs based on Mao Zedong's poetry , as well as coordination with piano 

accompaniment , and problems and challenges encountered in singing. 

4.3.2.1 Review of Revolutionary Events 

There are three songs in this section: 西江月 ·井冈山 Xijiangyue·Jinggangshan, 忆秦娥 ·娄山关 Yi 

qine ·Loushanguan and 七律二首·送瘟神 Qilv ershou ·Songwenshen. The researchers chose these three art 

songs to review specific revolutionary events and convey emotions through events. 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 3; 2025 

 96 Published by IDEAS SPREAD 

 

Through the description of the Jinggangshan defense battle, the poem 西江月·井冈山 Xijiangyue·Jinggangshan 

passionately praises the heroic fighting spirit of the Jinggangshan soldiers who defended the base area, and 

expresses the poet's calm and unhurried, unchanging response to changes, and the genius strategic and tactical 

thinking of winning thousands of miles away (Zhang, 2023) . Ding Shande (1913-2001) used traditional tunes in 

the composition of 西江月·井冈山 Xijiangyue·Jinggangshan and combined it with the style of folk music to 

enhance the expressiveness of the lyrics. The musical structure of the song can be roughly divided into an 

introduction, a main song, a chorus, and an epilogue. In the process of composing the music, Ding Shande fully 

considered the emotions and artistic conception of the lyrics of 西江月·井冈山Xijiangyue·Jinggangshan. In terms 

of melody, Ding chose traditional Chinese music elements to match the style of the lyrics. The melody is smooth 

and lyrical, especially when describing the natural scenery and revolutionary spirit, the ups and downs and changes 

of the melody enhance the expressiveness of the lyrics. 

忆秦娥·娄山关 Yi qine ·Loushanguan is a poem written by Mao Zedong, a modern revolutionary and writer, in 

1935. This poem was written after the fierce battle of Loushanguan. It takes the battle of Loushanguan as the 

theme , and outlines a magnificent winter night march from the inside out, depicting the intense and fierce scenes 

of the Red Army's battle of Loushanguan during the Long March, and showing the author's calm demeanor and 

broad mind in the face of failure and difficulties (Xu & Zhong, 2022) . When Lu Zulong, who was born in 1928, 

composed 忆秦娥·娄山关 Yi qine ·Loushanguan, he fully considered the passionate emotional expression and the 

purpose of being easy to sing, and adopted the artistic expression form of solo in the composition. Through the 

single three-part form, the same lyrics are progressively advanced through different melodies, pushing the music 

to a climax. 

七律二首·送瘟神 Qilv ershou ·Songwenshen is a poem written by Mao Zedong after he read the news that 

Yujiang County had eliminated schistosomiasis in the People's Daily on June 30, 1958. The second poem describes 

the broad masses of working people in the new society conquering nature, managing mountains and rivers, and at 

the same time filling trenches and leveling ditches to eliminate snails . It shows that under the socialist system, the 

working people of New China are in high spirits and high morale, defeating the God of Plague, conquering nature, 

and making the motherland prosperous (Kong, 2024) . In 1922, modern composer Wang Zhixin composed 七律
二首·送瘟神 Qilv ershou ·Songwenshen for academic vocal scholars. He used Suzhou Pingtan as the creative 

foundation, integrated national tunes and modern Western composition techniques, and presented the score with 

professional piano accompaniment vocal score. The combination of Chinese and Western styles makes the music 

work present the style of opera and academic style, and is more artistic. The traditional opera elements he 

incorporated into his creation not only vividly reproduced the poetic images of the songs, but also fully 

demonstrated the national characteristics and charm of Chinese works, showing the majestic and magnificent 

leadership of the great man. The prominent national characteristics in the works have a positive effect on the 

inheritance of Chinese traditional music and culture, and at the same time make the poetry and songs shine. 

4.3.2.2 Cultivating the Revolutionary Spirit 

There are three songs in this section, 菩 萨 蛮 ·黄 鹤 楼 Pusa man ·Huanghelou, 清 平 乐 ·会 昌
Qingpingyue·Huichang and 卜算子·咏梅 Busuanzi·Yongmei. All three art songs revolve around complex 

emotional changes and finally strengthen the revolutionary spirit. 

The poem 菩萨蛮·黄鹤楼 Pusa man ·Huanghelou was created in 1927. When the poem was published in the first 

issue of "Poetry Magazine" in January 1957, Mao Zedong wrote a self-note: "In 1927, on the eve of the failure of 

the Great Revolution, I felt desolate and didn't know what to do. It was the spring of that year. On August 7 in the 

summer, the emergency meeting of the Party decided to fight armed struggle, and from then on, we found a way 

out." This poem expresses Mao Zedong's gloomy ambitions and eager expectations for the era in which he lived, 

and also expresses his anxiety about the future of the revolution, his confidence in the future, and his optimism 

with firm belief in the revolution (Wang, 2020) . When Luo Bin composed the music for 菩萨蛮·黄鹤楼 Pusa 

man ·Huanghelou, he used the national mode to create the melody, and the overall tonality of the melody was b E 

palace-C feather- b E palace. Among them, the partial tone palace sound D and the clear angle sound b A focus 

on the strong beats and strong positions of the measure, so that the national mode is also permeated with strong 

Western major and minor mode characteristics, and the mode tonality reflects the integration of Chinese and 

Western creative techniques. 

清平乐·会昌 Qingpingyue·Huichang was written in 1934. This Qingpingyue, like Pushaman, expresses the same 

mood. "At that time, the Communist Party of China and the Red Army were led by the "three-man group" of Bo 

Gu, Zhou Enlai and Li De (German). Mao Zedong was squeezed out of the leadership group and "recovered from 

illness" in Huichang. This poem was first published in "Poetry Magazine" in January 1957. The tone of "Huichang" 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 3; 2025 

 97 Published by IDEAS SPREAD 

 

is high-spirited and the language is magnificent, reflecting Mao Zedong's positive and optimistic mental state and 

indomitable will, but the words also vaguely reveal the poet's worries and resentment (Liu, 2018) . Composer Ding 

Shande used this as the lyrics, and constructed a broad artistic conception with a strong national style. 

卜算子·咏梅 Busuanzi·Yongmei is a poem written by Mao Zedong in the same tune and title as Lu You. Through 

the creation of the beautiful and tenacious image of the plum blossom, this poem expresses the Chinese nation and 

the Chinese Communists' heroic, modest and open-minded feelings of despising all kinds of difficulties, and 

encourages the whole party and the people of the country to uphold the truth of Marxism, fight unyieldingly against 

revisionism and all reactionary forces, and strengthen their confidence that the ideal communist society will 

inevitably be realized. It encourages people to have a mighty and unyielding spirit and an optimistic spirit of 

revolution to the end. When Li Jiefu (1913-1976) composed the music for it, he used many supporting words, 

which conforms to the usual way of writing red songs in that era, giving people a more respectful and regular 

feeling, like the traditional simple poetry recitation form. 

4.3.2.3 Practicing Heroism 

There are four songs in this section:沁园春·长沙 Qinyuanchun·Changsha, 十六字令三首 Shiliuziling Sanshou,

沁园春·雪 Qinyuanchun · Snow and 浪淘沙·北戴河 Langtaoshai· Beidaihe. The four art songs all express 

emotions through scenery and show different revolutionary heroism. 

沁园春·长沙 Qinyuanchun·Changshais a masterpiece by the young Mao Zedong. It is a magnificent poem about 

visiting the old place to enjoy the autumn scenery, recalling classmates and thinking about the past, inspiring 

fighting spirit and expressing lofty sentiments. Through the description of the autumn scenery of Changsha and 

the recollection of the revolutionary struggle life in the youth, this poem expresses the revolutionary youth's 

feelings about the fate of the country and the lofty ambition to take the world as their own responsibility, despise 

the reactionary rulers, and transform the old China (Jiang, 2023) . By expressing emotions through scenery, it 

evokes people's heroic spirit and noble sentiments in striving for their ideals. When Liu Chunan composed the 

music for it, he used many ornaments to refine the emotional expression of the music. 

Selected for this concert 十六字令三首 Shiliuziling Sanshou describe the mountains on the Long March. They 

are majestic, bold, and natural, showing the shape and style of the mountains, and also reflecting the author's broad 

mind and ambition. When Ding Shande composed the music for it, he used a short piece. The short song does not 

mean it is easy to sing. The melody and rhythm of this song seem to have no obvious ups and downs, but the singer 

needs to pay attention to the stability of his breath when singing. Ding Shande’s decision to employ a short - form 

composition for 十六字令三首 Shiliuziling Sanshou was a masterstroke, mirroring the concise yet impactful 

nature of Mao Zedong’s poetry. Although the melody and rhythm might initially appear subdued, closer 

examination reveals a nuanced musical landscape. 

The first part of 沁园春·雪 Qinyuanchun · Snow describes the magnificent snow scene in the north, which 

stretches for thousands of miles, showing a majestic, broad-minded and heroic artistic conception, and expressing 

the poet's love for the magnificent rivers and mountains of the motherland. The second part is argumentative and 

lyrical, focusing on commenting on historical figures, praising contemporary heroes, and expressing the 

proletariat's ambition to be the true master of the world (Bai, 2023) . The whole poem combines description, 

argumentation and lyricism, with a magnificent artistic conception, magnificent momentum, unrestrained 

emotions, and a heroic mind, which can represent the bold style of Mao Zedong's poetry. In 1970, Tian Feng 

composed music for it after studying the organizational structure and singing characteristics of Beijing Opera 

music. 

浪淘沙·北戴河 Langtaoshai· Beidaiheis a poem written by Mao Zedong during a meeting in Beidaihe, 

Qinhuangdao in the summer of 1954. This poem vividly depicts the magnificent scenery of the Beidaihe seaside 

at the turn of summer and autumn, and shows the unprecedented majestic spirit and vast mind of the proletarian 

revolutionaries. Wang Yunzhi composed music for it, repeating the first stanza of the poem "一片汪洋都不见，
知向谁边？There is no ocean in sight, who knows where it is?" and the second stanza of the poem "萧瑟秋风今
又是，换了人间 The bleak autumn wind is here again, and the world has changed", emphasizing Mao Zedong's 

political ambitions, great talents and enterprising spirit. 

4.3.2.4 Singing the Revolutionary Hymn 

There are three songs in this section: 清 平 乐 ·六 盘 山 Qingpingle·Liupanshan, 水 调 歌 头 ·游 泳
Shuidiaogetou·Youyong and 七律·答友人 Qilv·Dayouren. All three art songs eulogize the strong will and firm 

belief of the revolution. 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 3; 2025 

 98 Published by IDEAS SPREAD 

 

清平乐·六盘山 Qingpingle·Liupanshan is a poem written by Mao Zedong in 1935. This poem reviews the journey 

of the Long March and expresses the iron will of the Red Army soldiers to forge ahead and their firm belief in the 

victory of the war of resistance. This is a victory song that advances in battle and a manifesto that inspires people 

and inspires fighting spirit. The whole poem is majestic, vigorous, bold, unique and upright, and has a strong 

appeal. Composer Xu Peidong used a broad and vast musical tone to create it. 

水调歌头·游泳 Shuidiaogetou·Youyong depicts the scene of active construction in the early days of the founding 

of the People's Republic of China , expresses Mao Zedong's praise for the Chinese people's heroic spirit in building 

the motherland and changing the mountains and rivers, and reflects the author's vision of the future (Li & Qiu, 

2017). The poem 水调歌头·游泳 Shuidiaogetou·Youyong is filled with vivid imagery and profound emotions. In 

the musical adaptation of this poem, composers typically draw on a wide range of musical elements to bring its 

essence to life. Many arrangements feature a harmonious blend of orchestral and traditional Chinese instruments, 

creating a rich and textured soundscape that parallels the grandeur of the poem's themes. 

七律·答友人 Qilv·Dayouren uses the topic of a friend giving a poem or a present to start an association, integrating 

myth, reality and ideal. It describes the past, present and future of my hometown, expresses gratitude to friends, 

homesickness and blessings to fellow villagers. It praises the people's enterprising spirit, extols the great 

achievements of the people in the Great Leap Forward and the great victory of the three red flags, and envisions a 

bright future for mankind . When Meng Yong composed the music for it, he added a lot of ornaments. The melody 

speed was designed to change from 60 to 124 to 60. The first section shows a beautiful effect. The middle section 

shows a lively effect, and the last section ends with a broad effect. 

4.3.2.5 Experience Revolutionary Tenderness 

Two songs in this section,贺新郎·挥手从兹去 He Xinlang·Huishou congziqu and 蝶恋花·答李淑一
Dielianhua·Da Li Shuyi. Both art songs were composed by Qu Xixian . They are centered around the 

transformation from small love to great love , and show the tenderness of revolution. 

贺新郎·挥手从兹去 He Xinlang·Huishou congziqu shows Mao Zedong's true love and trust for Yang Kaihui. It 

also expresses that Mao Zedong has transformed his love for his wife and family into love for the revolutionary 

cause, showing Mao Zedong's broad political sentiments (Zhu, 1996) . The composer Qu Xixian was moved by 

their tenderness and set the keynote of the whole song as "affectionately", and changed it to "Meno mosso freely" 

in the 43rd bar to present tenderness and perseverance. Qu Xixian’s composition for 贺新郎·挥手从兹去 He 

Xinlang·Huishou congziqu is a masterful blend of musical elements, carefully crafted to mirror the complex 

emotions embedded within Mao Zedong’s poetry. The opening bars, set to an "affectionately" tonality, 

immediately draw listeners into the tender relationship between Mao Zedong and Yang Kaihui. Delicate piano 

melodies, accompanied by soft string arrangements, create an intimate atmosphere, mimicking the gentle 

exchanges between the couple. At bar 43, the shift to "Meno mosso freely" marks a significant emotional transition. 

Here, the music becomes more contemplative, yet resolute, symbolizing Mao Zedong’s transformation of personal 

love into a profound commitment to the revolutionary cause. 

蝶恋花·答李淑一 Dielianhua·Da Li Shuyi was Qu Xixian composed the song on May 11, 1957. This song is a 

work of mourning, expressing the author's infinite affection for his wife, martyr Yang Kaihui, and close comrade-

in-arms martyr Liu Zhixun, expressing his care for the martyrs' widows and old friends, and his deep mourning 

and high respect for the revolutionary martyrs. Qu Xixian’s musical arrangement of 蝶恋花·答李淑一
Dielianhua·Da Li Shuyi is a harmonious blend of solemnity and sentimentality, cleverly using changes in tempo 

and intensity to tell a moving story. As the music progresses, it gradually builds up in a carefully choreographed 

crescendo, mirroring the emotional journey of the poet’s remembrance. Qu Xixian lamented that the achievements 

of the revolution were hard-won. When composing the song, he started with a "slow tempo, with the intensity 

changing from "pp--mp--mf--mp-f--ff " , bringing the audience into contemplation. 

5. Summary 

This study focuses on Chinese art songs adapted from Mao Zedong's poems, and revolves around their vocal 

techniques and interpretation. The study aims to fill the research gap in this field. By constructing a three-

dimensional analysis framework of "historical context-music form-vocal practice", the study adopts a practice-

based research paradigm to explore this type of art songs in depth. The study found that Mao Zedong's poems have 

epic beauty, human beauty, personality beauty and philosophical beauty, and their integration with art songs has 

both aesthetic and political functions. In terms of musical characteristics, the works incorporate traditional 

elements such as Peking Opera and Suzhou Pingtan. The content reflects revolutionary, mass and educational 

nature, and the style covers revolutionary, poetic and national types. In terms of vocal performance, it is necessary 

to balance pronunciation and intonation, adjust the bel canto singing method to adapt to the characteristics of 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 3; 2025 

 99 Published by IDEAS SPREAD 

 

Chinese, and interpret the emotions of poetry in combination with historical context. Finally, through two solo 

concerts, the researchers selected 15 classic works and performed them according to five major themes such as 

reviewing revolutionary events and cultivating revolutionary spirits to verify the research theory and provide 

practical reference and theoretical support for the singing and inheritance of Chinese art songs. 

References 

[1] Abbate, C., & Parker, R. (2012). A history of opera: The last four hundred years. Penguin UK. 

[2] Aberbach, D. (2003). The poetry of nationalism. Nations and Nationalism, 9(2), 255–275. 

https://doi.org/10.1111/1469-8219.00085 

[3] Achieng’Akuno, E. (2019). Postlude: Singing Africa. In Music education in Africa (pp. 327–332). Routledge. 

https://doi.org/10.4324/9780429201592 

[4] Agawu, V. K. (2009). Music as discourse: Semiotic adventures in romantic music. Oxford University Press. 

https://doi.org/10.1093/acprof:oso/9780195370249.001.0001 

[5] Altorjay, T. (2014). Experience of flow during singing. Practice and Theory in Systems of Education, 9(2), 

143–151. 

[6] Applegate, C., & Potter, P. (Eds.). (2002). Music and German national identity. University of Chicago Press. 

[7] Attridge, D. (2019). The experience of poetry: From Homer's listeners to Shakespeare's readers. Oxford 

University Press. https://doi.org/10.1093/oso/9780198833154.001.0001 

[8] Baade, C. L. (2012). Victory through harmony: The BBC and popular music in World War II. OUP USA. 

https://doi.org/10.1093/acprof:oso/9780195372014.001.0001 

[9] Bernstein, I. (1993). Promises kept: John F. Kennedy's new frontier. Oxford University Press. 

[10] Borgdorff, H. (2012). The conflict of the faculties: Perspectives on artistic research and academia. Leiden 

University Press. https://doi.org/10.26530/OAPEN_595042 

[11] Burnard, P. (2012). Musical creativities in practice. Oxford University Press. 

https://doi.org/10.1093/acprof:oso/9780199583942.001.0001 

[12] Candy, L., & Edmonds, E. (2018). Practice-based research in the creative arts: Foundations and futures from 

the front line. Leonardo, 51(1), 63–69. https://doi.org/10.1162/LEON_a_01471 

[13] Casper, J. K., & Leonard, R. (2006). Understanding voice problems: A physiological perspective for diagnosis 

and treatment. Lippincott Williams & Wilkins. 

[14] Chen, S. X. (2015). The development of Chinese folk vocal music from the singing of Chinese art songs based 

on Mao Zedong's poetry works. Northern Music, 35(21), 14. 

[15] Chen, X. (2016). The origin and development of Chinese art songs. Walk Together, 11, 441–425. 

[16] Chen, Y. Q., & Yang, B. H. (2024). Interpretation of the aesthetic characteristics of Huang Zi's art songs. 

Journal of North China University (Social Sciences Edition), 40(06), 139–145. 

[17] Cheng, R. (2018). On the diversity of Chinese art songs based on Mao Zedong's poetry composition: Taking 

"Qing Ping Yue Liu Pan Shan" composed by He Luting, Jie Fu, and Tian Feng as an example. Northern Music, 

38(21), 6–7. 

[18] Cho, W. (2011). Verdi and his dramatic basses: A study of Verdi's evolution for bass voice (Doctoral 

dissertation, The University of Memphis). 

[19] Cook, N. (2014). Beyond the score: Music as performance. Oxford University Press. 

https://doi.org/10.1093/acprof:oso/9780199357406.001.0001 

[20] Cook, N., & Everist, M. (Eds.). (1999). Rethinking music. OUP Oxford. 

https://doi.org/10.1093/oso/9780198790037.001.0001 

[21] Cui, C. (2021). Western and Chinese musical traditions in 20th century China: Developing an American 

pedagogy for "Chinese classical poetry art song." (Doctoral dissertation, University of Georgia). 

[22] Dabney, J. P. (1927). The relation between music and poetry. The Musical Quarterly, 13(3), 377–383. 

https://doi.org/10.1093/mq/XIII.3.377 

[23] Davidson, J. W. (2009). Movement and collaboration in musical performance. In The Oxford handbook of 

music psychology (pp. 364–376). 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 3; 2025 

 100 Published by IDEAS SPREAD 

 

[24] Djahwasi, H. R., & Zaharul L. Saidon. (2020). Artistic research: Artistic as research vs. artistic as method. 

International Journal of Academic Research in Business and Social Sciences, 10(11), 292–309. 

https://doi.org/10.6007/IJARBSS/v10-i11/8091 

[25] Dong, J., & Hu, X. L. (Eds.). (2017). The anthology of Chinese drama theory in the 20th century. Anhui 

Education Press. 

[26] Dowd, A., Smith, J., & Wolfe, J. (1998). Learning to pronounce vowel sounds in a foreign language using 

acoustic measurements of the vocal tract as feedback in real time. Language and Speech, 41(1), 1–20. 

https://doi.org/10.1177/002383099804100101 

[27] Edmunds, N. (2004). Soviet music and society under Lenin and Stalin. New York. 

https://doi.org/10.4324/9780203496268 

[28] Elliott, M. (2006). Singing in style: A guide to vocal performance practices. Yale University Press. 

[29] Evans, R. C. (2014). Perspectives on World War I poetry. A&C Black. 

[30] Fairclough, P. (2016). Classics for the masses: Shaping Soviet musical identity under Lenin and Stalin. Yale 

University Press. https://doi.org/10.12987/yale/9780300217193.001.0001 

[31] Fan, Z. Q. (2018). Exploring the heroism and romantic sentiment in the interpretation of Mao Zedong's poetry 

songs (Master's thesis, Hunan Normal University). 

[32] Fang, S. (2014). Meaningful, interesting, and unexpected: Listening to Xu Peidong’s new song "Qinyuanchun: 

Changsha" based on Mao Zedong’s poetry. People’s Music, (02), 30–31. 

 

Copyrights 

Copyright for this article is retained by the author(s), with first publication rights granted to the journal. 

This is an open-access article distributed under the terms and conditions of the Creative Commons Attribution 

license (http://creativecommons.org/licenses/by/4.0/). 


