Chapter 25 Uniform Titles Part 2
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Laos, Known As the “Land of a Million Elephants,” Is a Landlocked Country in Southeast Asia About the Size of Kansas
DO NOT COPY WITHOUT PERMISSION OF AUTHOR Simon J. Bronner, ed. ENCYCLOPEDIA OF AMERICAN FOLKLIFE. Armonk, NY: M.E. Sharpe, 2005. Rachelle H. Saltzman, Iowa Arts Council, Iowa Department of Cultural Affairs [email protected] LAO Laos, known as the “Land of a Million Elephants,” is a landlocked country in Southeast Asia about the size of Kansas. The elephant symbolizes the ancient kingdom of Lan Xang, and is sacred to the Lao people, who believe it will bring prosperity to their country. Bordered by China to the north, Vietnam to the east, Cambodia to the south, Thailand to the west, and Myanmar (formerly Burma) to the northwest, Laos is a rough and mountainous land interwoven with forests and plateaus. The Mekong River, which runs through the length of Laos and supplies water to the fertile plains of the river basin, is both symbolically and practically, the lifeline of the Lao people, who number nearly 6 million. According to Wayne Johnson, Chief for the Iowa Bureau of Refugee Services, and a former Peace Corps Volunteer, “the river has deep meaning for the ethnic Lao who are Buddhist because of the intrinsic connection of water with the Buddhist religion, a connection that does not exist for the portion of the population who are non-ethnically Lao and who are animists.” Formally known as the Kingdom of Laos, and now known as Lao People’s Democratic Republic, Laos was, in previous centuries, periodically independent and periodically part of the Khmer (Cambodian), Mongol, Vietnamese, and Thai (Siamese) empires. Lao, Thai, and Khmer (but not Vietnamese) share a common heritage evident today in similar religion, music, food, and dance traditions as well as language and dress. -
From Trinidad to Beijing Dai Ailian and the Beginnings of Chinese Dance
1 From Trinidad to Beijing Dai Ailian and the Beginnings of Chinese Dance Dong d-dong, dong d-dong. A gong sounds as the camera fixes on an empty stage set with an arched footbridge and blossoming tree branch. Dai Ailian emerges dressed in a folkloric costume of red balloon pants and a rose-colored silk jacket, a ring of red flowers in her hair and shoes topped with red pom-poms. Puppetlike, two false legs kick out from under the back of Dai’s jacket, while the false torso and head of an old man hunch forward in front of her chest, creating the illusion of two characters: an old man carrying his young wife on his back. This dance is Dai’s adaptation of “The Mute Carries the Cripple” (Yazi bei feng), a comic sketch performed in several regional variations of xiqu, or Chinese traditional theater (video 1). This particular version is derived from Gui opera(Guiju), a type of xiqu specific to Guangxi Autonomous Region in south China. Dai demonstrates her dance skill by isolating her upper body and lower body, so that her pelvis and legs convincingly portray the movements of an old man while her torso, arms, and head those of a young woman. As the man, Dai takes wide sweeping steps, kicking, squatting, and balancing with her feet flexed and knees bent between steps, occa- sionally lurching forward as if struggling to balance under the weight of the female rider. As the woman, Dai grips the old husband’s shoulders with one hand while she lets her head bob from side to side, her eyes sparkling as she uses her free hand to twirl a fan, point to things in her environment, and dab the old man’s forehead with a handkerchief. -
CUHK Papers in Linguistics,Number 1. INSTITUTION Chinese Univ
DOCUMENT AESUME ED 364 067 FL 021 534 AUTHOR Ching, Teresa, Ed. TITLE CUHK Papers in Linguistics,Number 1. INSTITUTION Chinese Univ. of Hong Kong.Linguistics Research Lab. SPONS AGENCY Lingnan Univ. (China).; UnitedBoard of Higher Christian Education in Asia. REPORT NO ISSN-1015-1672 PUB DATE Aug 89 NOTE 118p.; For individualpapers, see FL 021 535-539. PUB TYPE Collected Works - Serials (022) JOURNAL CIT CUHK Papers in Linguistics; nlAug 1989 EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS Children; *English (Second Language);*Evaluation Methods; *Grammar; *HeariagImpairments; Language Acquisition; Mandarin Chinese;*Second Language Learning; *Standard SpokenUsage; Syntax IDENTIIIERS *Linear Ordering;Quantifiers ABSTRACT Papers included in thisvolume include the following: "Prosodic Aspects of Hearing-Impaired Children: AQualitative and Quantitative Assessmer' (Teresa Y. C. Ching); "TheRole of Linear Order in the Acquisit: of Quantifier Scope in Chinese"(ThoLas H. T. Lee); "Some Neglected Syntactic Phenomena inNear-standard English" (Mark Newbrook); "The Effect of ExplicitInstruction on the Acquisition of English Grammatical Structures by ChineseLearners" (Yan-ping Zhou); and "An Essay on Toffee Apple andTreacle Tart, Being an Imitation ofCockney Punning for TOEFL W. Ho). (Author/VWL) and TEASL" (Louise S. *********************************************************************** Reproductions supplied byEDRS are the best thatcan be made from the original document. *********************************************************************** CUBIC -
UC Berkeley Cross-Currents: East Asian History and Culture Review
UC Berkeley Cross-Currents: East Asian History and Culture Review Title "Music for a National Defense": Making Martial Music during the Anti-Japanese War Permalink https://escholarship.org/uc/item/7209v5n2 Journal Cross-Currents: East Asian History and Culture Review, 1(13) ISSN 2158-9674 Author Howard, Joshua H. Publication Date 2014-12-01 eScholarship.org Powered by the California Digital Library University of California “Music for a National Defense”: Making Martial Music during the Anti-Japanese War Joshua H. Howard, University of Mississippi Abstract This article examines the popularization of “mass songs” among Chinese Communist troops during the Anti-Japanese War by highlighting the urban origins of the National Salvation Song Movement and the key role it played in bringing songs to the war front. The diffusion of a new genre of march songs pioneered by Nie Er was facilitated by compositional devices that reinforced the ideological message of the lyrics, and by the National Salvation Song Movement. By the mid-1930s, this grassroots movement, led by Liu Liangmo, converged with the tail end of the proletarian arts movement that sought to popularize mass art and create a “music for national defense.” Once the war broke out, both Nationalists and Communists provided organizational support for the song movement by sponsoring war zone service corps and mobile theatrical troupes that served as conduits for musicians to propagate their art in the hinterland. By the late 1930s, as the United Front unraveled, a majority of musicians involved in the National Salvation Song Movement moved to the Communist base areas. Their work for the New Fourth Route and Eighth Route Armies, along with Communist propaganda organizations, enabled their songs to spread throughout the ranks. -
Music for a National Defense”: Making Martial Music During the Anti-Japanese War
“Music for a National Defense”: Making Martial Music during the Anti-Japanese War Joshua H. Howard, University of Mississippi Abstract This article examines the popularization of “mass songs” among Chinese Communist troops during the Anti-Japanese War by highlighting the urban origins of the National Salvation Song Movement and the key role it played in bringing songs to the war front. The diffusion of a new genre of march songs pioneered by Nie Er was facilitated by compositional devices that reinforced the ideological message of the lyrics, and by the National Salvation Song Movement. By the mid-1930s, this grassroots movement, led by Liu Liangmo, converged with the tail end of the proletarian arts movement that sought to popularize mass art and create a “music for national defense.” Once the war broke out, both Nationalists and Communists provided organizational support for the song movement by sponsoring war zone service corps and mobile theatrical troupes that served as conduits for musicians to propagate their art in the hinterland. By the late 1930s, as the United Front unraveled, a majority of musicians involved in the National Salvation Song Movement moved to the Communist base areas. Their work for the New Fourth Route and Eighth Route Armies, along with Communist propaganda organizations, enabled their songs to spread throughout the ranks. Keywords: Anti-Japanese War, Li Jinhui, Liu Liangmo, Lü Ji, Mai Xin, mass song, National Salvation Song Movement, New Fourth Army, Nie Er, United Front, Xian Xinghai Reflecting on his country’s defeat in World War II, a Japanese interviewed in Taibei attributed China’s victory neither to superior weaponry nor to battle tactics but to the fact that it had “relied on War of Resistance songs (kangzhan gequ) to arouse tremendous popular sentiment” (Chen F. -
The Media and Sino-American Rapprochement, 1963-1972
Wayne State University Wayne State University Dissertations 1-1-2013 Reading The eT a Leaves: The ediM a And Sino- American Rapprochement, 1963-1972 Guolin Yi Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the Communication Commons, History Commons, and the International Relations Commons Recommended Citation Yi, Guolin, "Reading The eT a Leaves: The eM dia And Sino-American Rapprochement, 1963-1972" (2013). Wayne State University Dissertations. Paper 719. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. READING THE TEA LEAVES: THE MEDIA AND SINO-AMERICAN RAPPROCHEMENT, 1963-1972 by GUOLIN YI DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2013 MAJOR: HISTORY Approved by: ____________________________________ Advisor Date ____________________________________ ____________________________________ ____________________________________ ____________________________________ ! ! ! COPYRIGHT BY GUOLIN YI 2013 All Rights Reserved DEDICATION I dedicate this dissertation to my parents, Youju Yi and Lanying Zhao, my siseter Fenglin Yi, and my wife Lin Zhang. ! ii! ACKNOWLEDGEMENTS I am sincerely and heartily grateful to my advisor Melvin Small, who has lighted my way through the graduate study at Wayne State. I am sure this dissertation would not have been possible without his quality guidance, warm encouragement, and conscientious editing. I would also like to thank other members of my dissertation committee: Professors Alex Day, Aaron Retish, Liette Gidlow, and Yumin Sheng for their helpful suggestions. -
The Discovery of Chairman Mao in Finland in the 1960S
Summary The Discovery of Chairman Mao in Finland in the 1960s. In Finland, the Chinese leader Mao Zedong and his thoughts were discovered in the 1960s by a very small group of Maoists. For the majority of the Finns, Chairman Mao and his Cultural Revolution remained a strange, or even a mystical phenomenon. However, this was the second time that Mao and Socialist China were discovered in Finland – the first wave of awareness had taken place in the 1950s. After the founding of the People’s Republic of China, the Finnish political left was eager to make contact with the “new China”. The official state-level and unofficial NGO-level contacts with China were very active during the first decade. Finland established diplomatic relations with the People’s Republic of China as early as 1950. The Finland-China Society was founded to promote friendship and disseminate information about China in Finland. The Finnish Communist Party, SKP, created its own party-level contacts with the Chinese Communist Party (CCP). As early as 1953, the Finnish SKP decided to send students to China, and Ville Pessi, Secretary General of the Finnish Communist Party, participated in the CCP convention of 1956. From 1953 onwards, China started sending groups of young people to study Finnish in Finland, financed through grants conferred by the Chinese Ministry of Education. The contacts established during the early days of the People’s Republic were ignored once the ideological split between China and the Soviet Union became public knowledge during the era of Secretary General Nikita Khrushchov’s leadership of the Communist Party of the Soviet Union (CPSU). -
Issue 7 Fall 2015
FALL 2015 ISSUE 7 SYSU World Publisher Office for Overseas Promotion, SYSU FALL 2015 Consultants Ling Wenhua Wu Xiaoyan CONTENTS EDITOR’S NOTE Editors Wu Jiawen Ian J. Heuer campus update 3 Thank you for reading this edition of SYSU World, the official English language news- Designers Ian J. Heuer 3 SYSU Opening Ceremonies Held letter for Sun Yat-sen University. Autumn Chen Jiayu 4 Performing Troupe Tours Russia has arrived in full force at SYSU, bringing 4 Chen Chunsheng Takes Office cool breezes and perfect weather. Having Special thanks to the Publicity Department 5 Cultural Exchange at Jiangkou H.S. finished celebrating Mid-autumn Festival of the SYSU Committee of the CPC, Wang 6 Business School Ranked Best Value and National Day, students, staff, and teach- Dongmei, and Jin Feng 6 Business School Welcomes Int’l Students ers are now settling into their routines as the 7 Performing Troupe Tours Confucius excitement of the new semester and the joy of Contact US Institutes in the Americas the holidays give way to the familiar rythyms of campus life in full swing. In this issue of Telephone +86 20 8411 1565 9 photo focus SYSU World, you can find a range of articles, Fax +86 20 8403 6860 images, and stories. In the Campus Update, Email [email protected] 11 da vinci: Robot surgeon you can read about events and activities on campus, including trips abroad by SYSU 13 in focus: SYSU during the performing troupes and international student Follow SYSU war of resistance activities in Guangzhou and beyond. -
Downloaded for Personal Non‐Commercial Research Or Study, Without Prior Permission Or Charge
Billeri, Francesca (2019) Interrelations among genres in Khmer traditional music and theatre : Phleng Kar, Phleng Arak, Lkhaon Yiikee and Lkhaon Bassac. PhD thesis. SOAS University of London. http://eprints.soas.ac.uk/30988 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. INTERRELATIONS AMONG GENRES IN KHMER TRADITIONAL MUSIC AND THEATRE: PHLENG KAR, PHLENG ARAK, LKHAON YIIKEE AND LKHAON BASSAC FRANCESCA BILLERI Thesis submitted for the degree of PhD 2019 Department of Music SOAS, University of London 1 Declaration for SOAS PhD thesis I have read and understood Regulation 21 of the General and Admissions Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. -
Sicong Ma's Amei Suite & Gaoshan Suite
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Sicong Ma's Amei Suite & Gaoshan Suite : historical background and performer's guide Ming-Ying Chiu Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Chiu, Ming-Ying, "Sicong Ma's Amei Suite & Gaoshan Suite : historical background and performer's guide" (2013). LSU Doctoral Dissertations. 2453. https://digitalcommons.lsu.edu/gradschool_dissertations/2453 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]. SICONG MA’S AMEI SUITE & GAOSHAN SUITE: HISTORICAL BACKGROUND AND PERFORMER’S GUIDE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirement for the degree of Doctor of Musical Arts in The School of Music by Ming-Ying Chiu B.A., Soochow University, 2001 M.A., Tunghai University, 2005 May 2013 ACKNOWLEDGEMENTS Firstly, I would like to thank my violin professor Espen Lilleslatten, whose passion towards music and life influences me deeply. And I want to express my appreciation to Dr. Jeffrey Perry, who has given great help and ideas for my dissertation. I also show my acknowledgement to Professor Dennis Parker, for inspiring me to dig out the musical treasures that come from my home country. The dean’s representative, Professor Adelaide Russo, has given me advices for my dissertation as well. -
Comparison of the Music Sound System Between Thailand and Vietnam Sansanee Jasuwan
World Academy of Science, Engineering and Technology International Journal of Humanities and Social Sciences Vol:7, No:1, 2013 Comparison of the Music Sound System between Thailand and Vietnam Sansanee Jasuwan culture between Thai and Vietnamese music forms the basis of Abstract—Thai and Vietnamese music had been influenced and my current research, where there is extreme variety and a great inspired by the traditional Chinese music. Whereby the differences of deal of difference. Studying the differences in the music sound the tuning systems as well as the music modes are obviously known . system can be further applied to create a better understanding The research examined the character of musical instruments, songs of the Asian countries including the culture, belief and and culture between Thai and Vietnamese. An analyzing of songs and modes and the study of tone vibration as well as timbre had been wisdoms of these countries. This research aims to study the done accurately. This qualitative research is based on documentary musical instruments and songs of Thai and Vietnamese music and songs analysis, field study, interviews and focus group discussion and to compare the music sound system between Thailand and of Thai and Vietnamese masters. The research aims are to examine Vietnam by analyzing songs and scales, and studying the tone the musical instruments and songs of both Thai and Vietnamese as of musical instruments. The research result can present about well as the comparison of the sounding system between Thailand and the sound systems and culture of each country. Vietnam. The finding of the research has revealed that there are similarities in certain kinds of instruments but differences in the sound systems II. -
(EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard