Voices Across Cultures: Chinese Art Song
A Conversation with Yangyi Mao
On Chinese Art Song, Cultural Identity, and a Living Tradition. Interview by Ruth Harley
Yangyi Mao is a singer (soprano) and researcher specialising in Chinese Art Songs, with a practice spanning performance, teaching, and the development of resources to support its international understanding. Yanghi Mao is currently studying her doctorate at the Royal Northern College of music where she has been able to also teach Chinese Art Songs to students through a series of masterclasses that resulted in a final performance given by a few select students.
Could you share a little about your journey into music, and into Chinese art song?I was born into a family with strong literary roots, and from an early age I was immersed in classical Chinese poetry through my uncle, who was a poet. That shaped my understanding of language as something inherently musical.
I later trained in Western vocal repertoire, particularly German Lied and French mélodie. It was during my university studies that I encountered Chinese art song in a more structured way, and I was immediately drawn to it. As interest in China’s cultural heritage has grown in recent years, I found myself returning to this repertoire with a renewed sense of connection and curiosity.
For UK audiences new to it, how would you describe Chinese Art Songs?Chinese Art Songs emerged in the early twentieth century through a dialogue between Eastern and Western musical traditions. It is grounded in Western tonal practice, but gradually developed its own identity through the incorporation of Chinese modes, folk material, and the timbral influence of traditional music and instruments.
At its core lies the relationship between music and poetry. Many of the texts come from an ancient literary tradition, most significantly 诗经 (Shī Jīng, The Book of Songs), a collection of poetry dating back over 3,000 years to the Zhou dynasty. These poems are among the earliest recorded in Chinese literature, and some scholars suggest they were originally sung or chanted. From the 1920s onwards, composers began setting these texts, alongside later poetry, within a newly formed art song tradition.
A defining feature of the musical language is the pentatonic system — a five-note scale built on C, D, E, G, and A. This forms the foundation of much traditional Chinese music and is closely associated with instruments such as the guzheng. These core tones are often complemented by selectively introduced altered pitches, such as F-sharp or B-flat, which provide expressive colour while retaining the modal clarity of the style.
What are some of the central themes in this repertoire?Much of the repertoire reflects the cultural and historical shifts of twentieth-century China, particularly the period beginning in the 1920s. However, the texts themselves often reach much further back in time.
Recurring themes include longing, memory, nature, and the passage of time. Symbolism plays an important role: the moon, for instance, is closely associated with reunion and homesickness, carrying meanings that differ from Western poetic associations.
In what contexts have these songs historically been performed?Today, Chinese Art Songs are most commonly performed in recital halls and chamber music settings, where the intimacy of the form can be fully realised.
Historically, it also existed within imperial courts, literary gatherings, ceremonial occasions, and scholarly meetings, where poetry and music formed part of wider cultural and intellectual exchange.
Who engages with Chinese Art Songs today?Traditionally, engagement has been strongest within academic and professional circles, but this is changing.
There is increasing interest from a broader range of performers, alongside contemporary composers who are exploring more accessible approaches through modern compositions. What is particularly encouraging is the depth of engagement with the poetry, language, and cultural context behind the music.
Are there composers or works you would recommend as a starting point?Huang Zi (1904 – 1938) is often considered essential, particularly 花非花 (Huā Fēi Huā, The Flower is Not a Flower), based on a text by Bai Juyi (772 – 846). It is frequently one of the first works students encounter.
Here's a recording of 花非花 The Flower is Not a Flower: https://www.youtube.com/watch?v=qL61bBT7AI4
From the same early twentieth-century generation, Chen Tianhe (1911 - 1955)’s (student to Huang Zi) 春归何处 (Chūn Guī Hé Chù, Where the Spring Has Gone) is especially evocative. In the contemporary repertoire, Zhao Jiping (1945 - )’s setting of 关雎 (Guān Jū, Crying Ospreys) is significant, combining one of the oldest texts from The Book of Songs with a modern musical language rooted in tradition.
Here's a recording of 春归何处 Where theSpring Has Gone: https://www.youtube.com/watch?v=-kOXDF99UIE
Is there a work that holds particular personal significance for you?关雎 (Guān Jū, Crying Ospreys) is especially meaningful to me. It is structurally clear yet emotionally rich in a restrained way. It depicts a gentleman longing for a virtuous lady, often performed as an art song, the melody to symbolize harmony, virtue, and idealized romantic pursuit
I performed it at my graduation, and it remains a defining piece in my artistic development — the first work that made me fully appreciate the depth of this repertoire.
Here's a recording of 关雎 Crying Ospreys:https://www.youtube.com/watch?v=n9whRFhdMdo
What distinguishes Chinese art song from Western art song traditions?One of the key differences lies in the treatment of text. In Chinese Art Songs, the poem is often an inherited cultural artefact, carrying historical and philosophical weight. The music is written to illuminate the text rather than transform it.
There is also a distinct aesthetic of expression. The style tends towards inwardness and restraint, trusting the poetry itself to carry emotional intensity.
What challenges did you encounter working with Western repertoire?The most significant challenge was cultural context — understanding not only language, but the worldview embedded within it.
On a technical level, European languages require different vocal placement and articulation. Developing fluency in these systems takes time and sustained study.
What should Western singers be mindful of when approaching Chinese Art Songs?The text should always come first. It is essential to understand the poem in its cultural and historical context rather than relying solely on translation.
Symbolism is also key, as certain images carry very specific meanings within Chinese literary tradition that may differ from Western ideas.
I would also encourage singers to avoid over-dramatisation. This repertoire values subtlety and internal expression; the most effective performances allow the poetry to lead.
You have also been involved in teaching and research in this field. Could you tell us about that?I have been giving lectures at the Royal Northern College of Music, working with students on twentieth-century Chinese Art Song, particularly repertoire from the 1920s onwards. This includes detailed study of interpretation and performance practice.
A significant part of this work focuses on Mandarin IPA and diction, developing practical tools to support Western-trained singers in accessing the language more confidently and accurately.
What are your hopes for the future of Chinese art song internationally?I would like to see Mandarin diction integrated into conservatoire training alongside Italian, French, and German.
More broadly, I hope for greater collaboration between Chinese and Western performers, and increased visibility for this repertoire within mainstream programming.
Ultimately, Chinese Art Songs are a living tradition. Its strength lies in exchange, and it becomes richer as it is interpreted by singers from different backgrounds.
Hearing new voices sing this repertoire brings me so much joy, through sharing this music we are building bridges, building inclusivity and enabling a richer landscape of music in classical repertoire.