Thu) Eco-Erhu Zhang Chongxue (Concertmaster

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Performing Members of the HKCO 11/3/2021 (Thu) Eco-Erhu Zhang Chongxue (Concertmaster) Xu Hui ◎ He Yang To Shek Chor Sze Poon Chong Peng Cheng Siu Sau Han Law Wing Nin So Shun Yin Wong Ka Lok □ Wong Kam Pui □ Eco-Gaohu Ngai Kwun Wa ◎ Mak Ka Yin ◇ Xiang Xuan Zhang Yuhui Wong Sum Ho Yeung Ka Wai Wan Yun-an Eco-Zhonghu Mao Qinghua (Huqin Co-Principal and Zhonghu Principal) Hui Yin ◆ Li Xiaoding Pang Yui Sing Siu Sau Lan Han Jingna Tse Chan Hung □ Eco-Gehu Tung Hiu Lo ○ Lo Chun Wo ◆ An Yue He Wei Wu Fan Cheung Tin Chun Ngai Hon Yip Cheung Wayn Tou □ Eco-Bass Gehu Qi Hongwei ○ Vonghemrat Pichan Chan Ka Man Li Wei Tam Shu Kiu Yangqin Lee Meng-hsueh ○ Chang Chia-hsiang Xiaoruan / Liuqin Ge Yang ○ Chiu Yu-shan Chen I-ling Pipa Zhang Ying ○ Shiu Pui Yee Wong Yui Kiu Leung Ka Lok □ Zhongruan Fung Yin Lam ◎ Wu Man-lin Liang Wai Man Chan Shuk Har Ng Kai Hei □ Daruan Lau Yuek-lam ○ Hsu Tzu-wei □ Sanxian Zhao Taisheng ○ Zheng Li Tingting □ Qudi Sun Yongzhi ○ Wu Chih-ting Bangdi Choo Boon Chong ◆ Ho Siu Cheong □ Xindi / Dadi Chan Chi Yuk ◆ To Fung Lim □ Soprano Sheng Wei Shen-fu Lam Chon Weng □ Tenor Sheng Lu Yi ◎ Yuen Kin Hei Bass Sheng Haung Ying-ti ◆ Soprano Suona Ma Wai Him ○ Wu Chun Hei ◆ Alto Suona Kwan Lok Tin Yuen Yu Ka # Tenor Suona Wong Cheuk Yin □ Bass Suona Liu Hai Guanzi Lo Wai Leung ○ Ren Zhaoliang Qin Jitao Percussion Luk Kin Bun ○ Wang Dong ◆ Chin Kwok Wai ◆▼ Liao Yi-ping Lee Tsz Yan □ Chan Lut Ting □ ○ Principal ◆ Assistant Principal ◎ Acting Principal ◇ Acting Assistant Principal □ Freelance Musician ▼ and Education Executive # The Artistic Internship Scheme is supported by the Hong Kong Arts Development Council The HKCO members are listed in Chinese stroke order. The string section utilizes revolving seating on a systematic basis. Musicians (except principals and assistant principals) change seats systematically. .

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International Conference on Education, Management and Computing Technology (ICEMCT 2015) Birth and Research of Erhu Concerto Jindi Zhang Art College, Shandong University, Weihai, 264209, China Keywords: Erhu; Concerto Abstract. Erhu concerto is a type of music which was born under integration of Chinese and western cultures. It is one of the most typical solo concertos in Chinese national musical instruments. Since the establishment of new China, Erhu concerto has developed rapidly. It gained different development in four historical periods: before the reform and opening-up, 1980s, 1990s and the 21st century. Erhu concerto generates significant influence on development of Erhu music and occupies an important position in development history of Erhu music. Birth of Erhu concerto Since the 20th century, Erhu concerto born under multi-culture development is a kind of new music expression form. It derives from European music, but is different from European music. In 1930s, Erhu divertimento The Death of Yang Yuhuan created by Russian Jewish composer AapoHABUiajiyMOB (1894-1965) consists of 6 songs and adopts the form of Erhu and symphony orchestra. This is the earliest Erhu concerto recorded in the history and originated from the melody of self-created song Evening Scene of Ynag Yuhuan in 1936. In Yearbook of Chinese Music (2002), Mr. Zheng Tisi said in his memoirs that, this works was performed in public in Shanghai Lanxin Theater. The band was Shanghai Municipal Council Orchestra. The outstanding folk music performer Mr. Wei Zhonglei took charge of Erhu solo, and the composer was responsible for commanding. Such manifestation pattern of Erhu music was certain far-sighted in the development of world music and also reflected world culture had walked out of European cultural circle and went to other developing countries.
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Banhu Playing Techniques in Northern China Yun Meng a Thesis Submitted in Partial Fulfillment of Requirements for Degree of Doct
Banhu Playing Techniques in Northern China Yun Meng A Thesis Submitted in Partial Fulfillment of Requirements for degree of Doctor of Philosophy in Music February 2021 Copyright of Mahasarakham University เทคนิคการบรรเลงของซอบา่ นหู ในภาคเหนือ ของประเทศจีน วิทยานิพนธ์ ของ Yun Meng เสนอต่อมหาวทิ ยาลยั มหาสารคาม เพื่อเป็นส่วนหน่ึงของการศึกษาตามหลกั สูตร ปริญญาปรัชญาดุษฎีบัณฑิต สาขาวิชาดุริยางคศิลป์ กุมภาพันธ์ 2564 ลิขสิทธ์ิเป็นของมหาวทิ ยาลยั มหาสารคาม Banhu Playing Techniques in Northern China Yun Meng A Thesis Submitted in Partial Fulfillment of Requirements for Doctor of Philosophy (Music) February 2021 Copyright of Mahasarakham University The examining committee has unanimously approved this Thesis, submitted by Mr. Yun Meng , as a partial fulfillment of the requirements for the Doctor of Philosophy Music at Mahasarakham University Examining Committee Chairman (Assoc. Prof. Wiboon Trakulhun , Ph.D.) Advisor (Asst. Prof. Sayam Juangprakhon , Ph.D.) Committee (Asst. Prof. Peerapong Sensai , Ph.D.) Committee (Asst. Prof. Khomkrit Karin , Ph.D.) Committee (Assoc. Prof. Phiphat Sornyai ) Mahasarakham University has granted approval to accept this Thesis as a partial fulfillment of the requirements for the Doctor of Philosophy Music (Asst. Prof. Khomkrit Karin , Ph.D.) (Assoc. Prof. Krit Chaimoon , Ph.D.) Dean of College of Music Dean of Graduate School D ABSTRACT TITLE Banhu Playing Techniques in Northern China AUTHOR Yun Meng ADVISORS Assistant Professor Sayam Juangprakhon , Ph.D. DEGREE Doctor of Philosophy MAJOR Music UNIVERSITY Mahasarakham University YEAR 2021 ABSTRACT The purpose of this thesis is to study the technique and application of Banhu. The purposes of this study are: 1) to examine the history of Banhu in northern China; 2) to classify banhu according to the difficulty of his playing skills; 3) to analyze selected music examples.
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Orchestrating the World - a Manualvico of Intercultural Music Making
Orchestrating the World - a manualVICO of intercultural music making by Moshe Denburg Copyright and Fair Use Notification SAMPLE The author does not object to the use of these materials for personal educational purposes or for any fair use, such as quoting or citing these materials, as long as their authorship is credited by the user. Making copies of these materials as part of any commercial venture, or for any monetary reward, or reproducing the materials for public use, requires the written consent of the author. All reasonable requests will be honoured. © VICO, 2017 Erhu Description The Erhu is a bowed two-stringed instrument. It has a long round neck of hardwood attached to a hardwood resonator, usually covered with snakeskin. Its steel strings are tensioned between the tuning pegs at the neck's upper end,VICO and the lower edge of the resonating box. The speaking length of the string extends from a nut at the peg end of the neck to a bridge placed upon the resonator. The horsehair bow, rosined on both sides, is inserted between the strings, and the strings are played one at a time, virtually never together. The player fingers the strings not by pressing them against the neck but by placing them on the strings lightly, to create different speaking lengths. Tuning d1 - a1 Scordaturas and Extensions 1 1 1 1 In the Erhu db - ab and c -g scordaturas are possible, but an oversize instrument may render lower pitches better. Erhus with extensions are being made, but they are not yet common (as of 2004).
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Yangqin) gradually came in with repeating short Concert report on melodic fragments. Special sound effect was "Golden Chinese Classics produced by the Dizi blowing air across the mouth-hole without producing a specified pitch. of the Century: Parade I" At times flutter tonguing was also applied in 30 Nov 2002 (8pm) producing this kind of airy sound. The sound of Hong Kong Cultural Centre Concert Hall bird calls was also heard throughout the entire © 2002 by Helen Kin Hoi Wong movement, played by the small wind instruments Xun ( 塤). The highlight in the movement was the For the vast majority of Hong Kong sound of Yangqin. The third movement “ The Silk audiences, Chinese music is regarded as Worms Spinning Silk” featured the sound of wind “traditional” and conservative in its instruments (Dizi and Shao) with harmonics of compositional approach. The concert presented the bowed-strings (Gehu and Bass Gehu). The 4 th by the Hong Kong Chinese Orchestra last month movement “Butterflies among the Flowers” proved otherwise. On 30 Nov 2002, the HKCO explored the different colours on the Zheng. The launched its first of 4 series of concerts organized final movement “The Insert World” incorporated by “Golden Chinese Classics of the Century”, the use of all instruments. Themes from the featuring works by Hong Kong composer previous movement reappeared again created an Doming Lam, Chinese composers Liu Xing, interplay which reflected the harmonious Wang Jainmin and Kuan Nai-chung, displaying a co-existence of all insects. mixture of traditional, contemporary and experimental styles. Following all kinds of exotic sounds from The Insect World , a standard concerto work was Under the baton of guest conductor Yu Feng, presented.
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applied sciences Article Analysis and Modeling of Timbre Perception Features in Musical Sounds Wei Jiang 1,2,3, Jingyu Liu 1,2,3, Xiaoyi Zhang 1,2,3, Shuang Wang 1,2,3 and Yujian Jiang 1,2,3,* 1 Key Laboratory of Acoustic Visual Technology and Intelligent Control System, Communication University of China, Ministry of Culture and Tourism, Beijing 100024, China; [email protected] (W.J.); [email protected] (J.L.); [email protected] (X.Z.); [email protected] (S.W.) 2 Beijing Key Laboratory of Modern Entertainment Technology, Communication University of China, Beijing 100024, China 3 School of Information and Communication Engineering, Communication University of China, Beijing 100024, China * Correspondence: [email protected] Received: 25 December 2019; Accepted: 20 January 2020; Published: 22 January 2020 Abstract: A novel technique is proposed for the analysis and modeling of timbre perception features, including a new terminology system for evaluating timbre in musical instruments. This database consists of 16 expert and novice evaluation terms, including ﬁve pairs with opposite polarity. In addition, a material library containing 72 samples (including 37 Chinese orchestral instruments, 11 Chinese minority instruments, and 24 Western orchestral instruments) and a 54-sample objective acoustic parameter set were developed as part of the study. The method of successive categories was applied to each term for subjective assessment. A mathematical model of timbre perception features (i.e., bright or dark, raspy or mellow, sharp or vigorous, coarse or pure, and hoarse or consonant) was then developed for the ﬁrst time using linear regression, support vector regression, a neural network, and random forest algorithms.
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UCLA Contemporary Music Score Collection Title Xiaoqu Permalink https://escholarship.org/uc/item/0nx2d7x3 Author ZHONG, Fangyi Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California ⼩曲 xiaoqu for xun, bangdi, pipa, soprano sheng, yangqin, zhonghu, gehu (2019) 鍾芳怡 Fangyi ZHONG 不啼莫打春得時教起怨到驚枝⿈遼妾上鶯唐⾦西夢啼兒昌。，。，緒《⼩曲》《春怨》為唐代詩⼈⾦昌緒僅存的⼀⾸古詩，通過倒敘⼿法，環環相扣地描述了此詩中的幾個主要場景：主⼈翁在睡夢中夢到在遼西打仗的丈夫、被在枝上啼叫的⿈鶯驚擾美夢、為了不驚擾美夢⽽將⿈鶯趕⾛的過程。此詩在表達妻⼦對丈夫思念之情的同時，也表現了國家戰亂不穩定給國⼈帶來的痛苦。本作品是作曲者受此詩啟發，原為⼈聲、長笛、琵琶、顫⾳琴和⼤提琴⽽作的標題⾳樂《⼩曲》的中樂版本，以塤、梆笛、琵琶、⾼⾳笙、揚琴、中胡和⾰胡演奏，在原曲的基礎上增加了和聲層次和變化，⾳響上出現了更多對比衝突，刻劃了以古詩為主軸的⾳樂情感。第⼀部分在線性層⾯運⽤了相同的⾳⾼組織，表現了主⼈翁夢境中的美好，但縱向不協和的和聲又暗⽰著夢境的不真實︔第⼆部分以速度變化、強烈的強弱對比、不協和的和聲來刺破"夢境"，同時表達主⼈公憤怒的⼼情。在此段中塤開始以模擬⼈聲的角⾊出現，不連貫的⾳樂表現碎⽚化的夢境並暗⽰之後模擬古詩詞旋律的出現︔第三部分是全曲的中⼼樂段，⾳樂上與古詩詞情緒形成倒影，並運⽤了舊的⾳樂素材作出⼀系列的變奏，帶出⼀種特別的藝術效果︔第四部分為尾聲，以琵琶和揚琴演奏，與樂曲的開⾸部分在配器上作⼀個有趣的⾸尾呼應。 Xiaoqu The Lamentation of Spring is the only survived poem written by Jin Changzü, a poet of Tang dynasty. The poet describes a sequence of related scenarios from this interesting poem. It is a story is about a lady who meets her husband in her dream but was awaken by the bird on the tree, and she then tries to expel the bird and hopes that she can stay in the dream and be with her husband who is a solider of a war in a remote land of the country. The poem expresses the pain that wars bring to the people and at the same time express the emotion of hoping to see someone who the poet misses and loves.
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"Seven Tunes Heard in China" for Solo Cello Chiao-Hsuan Kang Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 Understanding of Authentic Performance Practice in Bright Sheng's "Seven Tunes Heard in China" for Solo Cello Chiao-Hsuan Kang Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kang, Chiao-Hsuan, "Understanding of Authentic Performance Practice in Bright Sheng's "Seven Tunes Heard in China" for Solo Cello" (2016). LSU Doctoral Dissertations. 1639. https://digitalcommons.lsu.edu/gradschool_dissertations/1639 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. UNDERSTANDING OF AUTHENTIC PERFORMANCE PRACTICE IN BRIGHT SHENG’S SEVEN TUNES HEARD IN CHINA FOR SOLO CELLO A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Chiao-Hsuan Kang B.F.A., National Taiwan Normal University, 2009 M.M., College-Conservatory of Music, University of Cincinnati, 2012 May 2016 © [2016 copyright] [Chiao-Hsuan Kang] All rights reserved ii ACKNOWLEDGEMENTS I would like to express my heart-felt appreciation to my parents, Chen Min Kang and Mei Yuan Lin for their support, love and encouragement during my many years of education, both in Taiwan and in the United States.
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An Example with Chinese Musical Instruments
TOJET: The Turkish Online Journal of Educational Technology – January 2011, volume 10 Issue 1 APPLYING COMPUTER-ASSISSTED MUSICAL INSTRUCTION TO MUSIC APPRECIATION COURSE: AN EXAMPLE WITH CHINESE MUSICAL INSTRUMENTS Shi-Jer LOU National Pingtung University of Science and Technology [email protected] Yuan-Chang GUO National Kaohsiung Normal University [email protected] Yi-Zhen ZHU National Tung Kong Maritime & Fishery Vocational High School [email protected] ﹡ Ru-Chu SHIH National Pingtung University of Science and Technology [email protected] Wei-Yuan DZAN National Kaohsiung Marine University [email protected] ABSTRACT This study aims to explore the effectiveness of computer-assisted musical instruction (CAMI) in the Learning Chinese Musical Instruments (LCMI) course. The CAMI software for Chinese musical instruments was developed and administered to 228 students in a vocational high school. A pretest-posttest non-equivalent control group design with three classes designated as the experimental group for the “CAMI in LCMI,” and another three classes as the control group for the “traditional narrative teaching approach.” Collected data were analyzed through descriptive statistics analysis, ANCOVA, and structural equation modeling (SEM) by SPSS 10.0 for Windows and LISREL 8.52. The results indicate that (1) the CAMI approach is superior to the traditional narrative teaching approach, (2) students show a positive perspective on the use of CAMI for instruction in the LCMI course, (3) software interface and content design have positive and direct influence on students’ learning attitude and self-awareness learning results, (4) learning attitude has a positive and direct influence on self-awareness learning results, and (5) the CAMI in Chinese musical instruments software is satisfactory assistive material for teachers in the LCMI course.
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Advances in Social Science, Education and Humanities Research, volume 469 Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020) Musical Instruments of "Mongolian Music" and the Reflections Tegusi Zhou1,* 1Leshan Normal University, Leshan, Sichuan 614000, China *Corresponding author. Email: [email protected] ABSTRACT "Mongolian Music" refers to a part of the Mongolian court music and instrumental music preserved in the Qing Dynasty. It consists of two parts: "Jia Chui Yue Jiang" and "Fan Bu He Zou". Also, it is an important historical material mainly recorded in Mongolian, Chinese, Manchu and traditional Chinese musical notation. Based on the historical context and research overview of "Mongolian Music", this paper makes a philological analysis of the basic structure of musical instruments and the composition of their bands recorded in "Jia Chui Yue Jiang" and "Fan Bu He Zou" of "Code of Qing Dynasty", and then discusses the integrity, interdisciplinary and mutual verification research of "Mongolian music", trying to construct the research methods and ideas of musicology, literature, philology and linguistics as a whole. Keywords: "Mongolian music", "Jia Chui Yue Jiang", "Fan Bu He Zou", mutual verification Dynasty" and the Chinese translation of 64 Mongolian I. INTRODUCTION music in Liang Zhangju's "Nan Sheng Gong Yu Lu" in "Mongolian music" is a kind of historical material the Jiaqing period of Qing Dynasty. Then Huang that records the court banquet songs and instrumental Runhua and Qu Liusheng wrote and published the music since Yuan Dynasty in Mongolian, Chinese and "Discussion on Mongolian music", which pointed out Manchu. The rulers of the Qing Dynasty paid special that "the Mongolian original words of these songs still attention to the arrangement of historical documents, exist.
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JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary Chinese Composer Zhou Long’s Works for Solo Piano Mongolian Folk-Tune Variations, Wu Kui, and Pianogongs. (2014) Directed by Dr. Andrew Willis. 136 pp. Zhou Long is a Chinese American composer who strives to combine traditional Chinese musical techniques with modern Western compositional ideas. His three piano pieces, Mongolian Folk Tune Variations, Wu Kui, and Pianogongs each display his synthesis of Eastern and Western techniques. A brief cultural, social and political review of China throughout Zhou Long’s upbringing will provide readers with a historical perspective on the influence of Chinese culture on his works. Study of Mongolian Folk Tune Variations will reveal the composers early attempts at Western structure and harmonic ideas. Wu Kui provides evidence of the composer’s desire to integrate Chinese cultural ideas with modern and dissonant harmony. Finally, the analysis of Pianogongs will provide historical context to the use of traditional Chinese percussion instruments and his integration of these instruments with the piano. Zhou Long comes from an important generation of Chinese composers including, Chen Yi and Tan Dun, that were able to leave China achieve great success with the combination of Eastern and Western ideas. This study will deepen the readers’ understanding of the Chinese cultural influences in Zhou Long’s piano compositions. CHINESE AND WESTERN ELEMENTS IN CONTEMPORARY CHINESE COMPOSER ZHOU LONG’S WORKS FOR SOLO PIANO MONGOLIAN FOLK-TUNE VARIATIONS, WU KUI, AND PIANOGONGS by Wei Jiao A Dissertation Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2014 Approved by _________________________________ Committee Chair © 2014 Wei Jiao APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
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Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
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Norway China World Music Concert Tour
Proposal for A Sino-European Musical Cultural Exchange Programme Liu Nian Arts Studio Beijing, China Introduction The cultural exchange between countries of the European Union and P.R of China is becoming an increasingly important dimension in Sino European relations. However the people of Europe and China still have rudimentary knowledge about each other’s cultures. One of the most important aspects of culture is music. Europe was the cradle of the birth of classical music, symphony orchestras and many of the great world composers are from the EU member states. Many of these are well known to the Chinese public. European folk and more contemporary world music however is not as well known to the Chinese public and the people of Europe have a very rudimentary idea of traditional Chinese Music. European folk music is usually thought of as the music of traditional peasant societies, rooted in work and in fixed customs. It is rural music; taught, without being written down, from one generation to the next. However, folk music is affected by, and interwoven with, art music and popular music, of which the different genres are often hard to distinguish. There are numerous times that folk music is sung and played. Folk music is sung as lullabies, and while cooking or weaving. It is played while dancing. Folk music is sung while working by sailors, lumberjacks, shepherds, and farmers. As folk music was not traditionally spread through written notation, many songs have been lost. However, an incredible amount of folk music does exist in written form and folk music archives exist.
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