Plucking a New Sound from History
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Protection and Transmission of Chinese Nanyin by Prof
Protection and Transmission of Chinese Nanyin by Prof. Wang, Yaohua Fujian Normal University, China Intangible cultural heritage is the memory of human historical culture, the root of human culture, the ‘energic origin’ of the spirit of human culture and the footstone for the construction of modern human civilization. Ever since China joined the Convention for the Safeguarding of the Intangible Cultural Heritage in 2004, it has done a lot not only on cognition but also on action to contribute to the protection and transmission of intangible cultural heritage. Please allow me to expatiate these on the case of Chinese nanyin(南音, southern music). I. The precious multi-values of nanyin decide the necessity of protection and transmission for Chinese nanyin. Nanyin, also known as “nanqu” (南曲), “nanyue” (南乐), “nanguan” (南管), “xianguan” (弦管), is one of the oldest music genres with strong local characteristics. As major musical genre, it prevails in the south of Fujian – both in the cities and countryside of Quanzhou, Xiamen, Zhangzhou – and is also quite popular in Taiwan, Hongkong, Macao and the countries of Southeast Asia inhabited by Chinese immigrants from South Fujian. The music of nanyin is also found in various Fujian local operas such as Liyuan Opera (梨园戏), Gaojia Opera (高甲戏), line-leading puppet show (提线木偶戏), Dacheng Opera (打城戏) and the like, forming an essential part of their vocal melodies and instrumental music. As the intangible cultural heritage, nanyin has such values as follows. I.I. Academic value and historical value Nanyin enjoys a reputation as “a living fossil of the ancient music”, as we can trace its relevance to and inheritance of Chinese ancient music in terms of their musical phenomena and features of musical form. -
Three Millennia of Tonewood Knowledge in Chinese Guqin Tradition: Science, Culture, Value, and Relevance for Western Lutherie
Savart Journal Article 1 Three millennia of tonewood knowledge in Chinese guqin tradition: science, culture, value, and relevance for Western lutherie WENJIE CAI1,2 AND HWAN-CHING TAI3 Abstract—The qin, also called guqin, is the most highly valued musical instrument in the culture of Chinese literati. Chinese people have been making guqin for over three thousand years, accumulating much lutherie knowledge under this uninterrupted tradition. In addition to being rare antiques and symbolic cultural objects, it is also widely believed that the sound of Chinese guqin improves gradually with age, maturing over hundreds of years. As such, the status and value of antique guqin in Chinese culture are comparable to those of antique Italian violins in Western culture. For guqin, the supposed acoustic improvement is generally attributed to the effects of wood aging. Ancient Chinese scholars have long discussed how and why aging improves the tone. When aged tonewood was not available, they resorted to various artificial means to accelerate wood aging, including chemical treatments. The cumulative experience of Chinese guqin makers represent a valuable source of tonewood knowledge, because they give us important clues on how to investigate long-term wood changes using modern research tools. In this review, we translated and annotated tonewood knowledge in ancient Chinese books, comparing them with conventional tonewood knowledge in Europe and recent scientific research. This retrospective analysis hopes to highlight the practical value of Chinese lutherie knowledge for 21st-century instrument makers. I. INTRODUCTION In Western musical tradition, the most valuable musical instruments belong to the violin family, especially antique instruments made in Cremona, Italy. -
View Marco Polo Chinese Classics Segment Catalogue
MARCO POLO CHINESE CLASSICS Music that travels well Cat. No. Title Performers UPC ORCHESTRAL / CONERTOS A, Kejian: Violin Concerto, "Hung Hu" / CHEN, Gang: Fantasy on a Sinkiang Folk Takako Nishizaki, Violin / Singapore Symphony Orchestra / 8.225811 636943581124 Song Hoey Choo Lam Fung, Pipa / Takako Nishizaki, Violin / Capella Istropolitana 8.225801 CHEN, Gang: Violin Concerto, "Wang Zhaojun" / Hong Kong Philharmonic Orchestra / Stephen Gunzenhauser / 636943580127 Yip Wing-sie Takako Nishizaki, Violin / Gunma Symphony Orchestra / Henry 8.225819 CHEN, Gang / HE, Zhanhao: Butterfly Lovers Violin Concerto (The) 636943581926 Shek CHEN, Gang / HE, Zhanhao: Butterfly Lovers Violin Concerto (The) / Popular Takako Nishizaki, Violin / Seow Yit-Kin, Piano / Nagoya 8.225833 636943583326 Chinese Violin Pieces Philharmonic Orchestra / Lim Kektjiang 8.223960 CHEN / HE: Butterfly Lovers Violin Concerto (The) / A Ke: Violin Concerto Vera Tsu, Violin / Shanghai Philharmonic Orchestra / Cao Peng 4891030239609 Dong Chen, Baritone / Hsu Fei-ping, Piano / Hong Kong 8.225829 CHEN, Gang / HE, Zhanhao: The Butterfly Lovers Piano Concerto 636943582923 Philharmonic Orchestra / Kenneth Schermerhorn Wong On-yuen, Erhu / Hong Kong Philharmonic Orchestra / Yip 8.223927 CHEN, Peixun: Fantasia on Cantonese Folk Themes 0730099392723 Wing-sie 8.225831 DING, Shande: Long March Symphony Hong Kong Philharmonic Orchestra / Yoshikazu Fukumura 636943583128 Takako Nishizaki, Violin / Singapore Symphony Orchestra / 8.225814 DU, Mingxin: 10 Xinjiang Dances 636943581421 Choo Hoey -
Plucked Stringed Instruments
Plucked Stringed Instruments Fig. 2.1: The Pipa 18 Pipa 2 琵琶 Pipa HISTORY The grand dame of plucked stringed instruments, the pipa is one of the most expressive instruments in the Chinese orchestra (Fig. 2.1). Recent moves by some major Chinese orchestras include removing the instrument entirely from the orchestral formation due to its overpowering character and inability to blend. Its techniques, however, are applied to almost every plucked stringed instrument and its concepts have been borrowed for the reformations of various plucked stringed instruments. The term pipa used today refers to the lute-shaped instrument which comprises of four strings and a fretted soundboard of 20 to 25 frets. In the ancient Chinese dynasties of Sui and Han, the term pipa was generic for any instrument that was plucked or had a plucked string aspect to it. The word pipa is made up of two Chinese characters – 琵 pi and 琶 pa1. The words describe how the instrument is played and the sounds it produced. The forward plucking of the string using one’s right hand was termed pi, and the backward plucking of the string with the right hand was termed pa. The first recorded connotation to the word pipa was found in 刘熙 Liu Xi’s <<释名>> Shi Ming, where it was recorded as piba2. Although greatly associated with the Chinese, the pipa is not native to China; the instrument was introduced to China by Asia Minor over 2000 years ago. As the instrument is foreign, its counterparts in the forms of lutes and mandolins can still be found in Central and Western Asia. -
Chinese Music Ensemble Wang Guowei, Director Angela Chan ’19, Pipa Soloist
Chinese Music Ensemble Wang Guowei, director Angela Chan ’19, pipa soloist Program Chen Zhenzhuo Spring Pastures arr. Wang Guowei Ensemble Arr. Wang Guowei Northwest Folk Songs Ensemble Qinghai Folk Song Song of Youth arr. Wang Guowei Ensemble Lu Shaoen Langya Mountain Ballade Pipa solo Liu Tianhua Beautiful Night arr. Wang Guowei Erhu & pipa Zhu Yi, Wen Bo Spring Rain Pipa solo Chen Gang The Sun Shines on Tashikurgen Erhu & piano Li Taixiang Olive Tree arr. Wang Guowei Ensemble Performers Angela Chan ’19, pipa, piano Huijun Huang ’22, erhu Lesly Mejia ’20, liuqin Andrew Thai ’21, zheng Samuel Lang ’20, erhu Angela Wang (guest), erhu, flute Anne-Sophie van Wingerden ’20, erhu Wednesday, May 1, 2019 7:00 p.m. Brooks-Rogers Recital Hall Williamstown, Massachusetts Please turn off cell phones. No photography or recording is permitted. Wang Guowei Born in Shanghai, China, Wang Guowei joined the Shanghai Traditional Orchestra at age 17, later becoming erhu soloist and concertmaster. He gained national prominence in garnering the prestigious “ART Cup” award at the 1989 International Chinese Instrumental Music Competition and accolades for his performances at the 15th annual “Shanghai Spring Music Festival.” He has toured internationally in Singapore, Taiwan, Hong Kong, Belgium, Canada, England, Italy, and Australia. In America, Wang Guowei has been hailed by The New York Times and Washington Post music critics as a “master of the erhu” and praised for his “extraordinary” and “gorgeous” playing of the instrument. Joining Music From China as Artistic Director in 1996, Wang Guowei has performed throughout the U.S. with appearances at Princeton, Duke, Pittsburgh, Yale, Wisconsin, Dayton, Bucknell, Vermont, Colgate, Indiana, Illinois State, Rhode Island, Texas A&M universities; Bard, Vassar, Dartmouth, Lafayette, St. -
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Advances in Social Science, Education and Humanities Research, volume 171 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017) Discussion on Western Region Music in Northern Zhou Dynasty Xing Tang School of Literature Northwest Minzu University Lanzhou, China Abstract—The Northern Zhou Dynasty (including Western Western and Eastern Han Dynasty, which include folk witch Wei Dynasty), as a dynasty that serve as a link between past and music dance, welcome God music, send God music, Xiangge future, should have its place in the cultural history. In the and other songs; Later music is the Western music after the Northern Zhou Dynasty, various cultures in Western Regions Han Dynasty and before Western Wei Dynasty, which include were closely interwoven. As one of the important representatives, game music, ritual music, custom music and so on; Current the music presented a wide range of sources with a large number music is the Western music in Northern Zhou Dynasty, due to of complicated compositions. These Western music has unique the large number of countries in the Western Regions and the style but also coexistence which has very close relationship with constant attacking and frequent destruction of the Western Northern Zhou’s music, so it has great influence to the music of Northern Zhou Dynasty and even the music of future Regions, so current music in fact refers to the remnants and integration of the music of different countries in different generations. historical periods in the Western Regions, which include Keywords—Northern Zhou Dynasty; Western Regions; music Shengming music, Tuozhi music and so on. -
Chmusic: a Traditional Chinese Music Dataset for Evaluation of Instrument Recognition
ChMusic: A Traditional Chinese Music Dataset for Evaluation of Instrument Recognition Xia Gong Yuxiang Zhu School of Music No.2 High School (Baoshan) of Shandong University of Technology East China Normal University Zibo, Chia Shanghai, China [email protected] [email protected] Haidi Zhu Haoran Wei Shanghai Institute of Microsystem and Information Technology Department of Electrical and Computer Engineering Chinese Academy of Sciences University of Texas at Dallas Shanghai, China Richardson, USA [email protected] [email protected] Abstract—Musical instruments recognition is a widely used base on Chinese musical instruments recognition [18, 19], application for music information retrieval. As most of previous dataset used for these research are not publicly available. musical instruments recognition dataset focus on western musical Without an open access Chinese musical instruments dataset, instruments, it is difficult for researcher to study and evaluate the area of traditional Chinese musical instrument recognition. This Another critical problem is that researchers can not evaluate paper propose a traditional Chinese music dataset for training their model performance by a same standard, so results re- model and performance evaluation, named ChMusic. This dataset ported from their papers are not comparable. is free and publicly available, 11 traditional Chinese musical To deal with the problems mentioned above, a traditional instruments and 55 traditional Chinese music excerpts are Chinese music dataset, named ChMusic, is proposed to help recorded in this dataset. Then an evaluation standard is proposed based on ChMusic dataset. With this standard, researchers can training Chinese musical instruments recognition models and compare their results following the same rule, and results from then conducting performance evaluation. -
The Interaction of Cello and Chinese Traditional Music
The Interaction of Cello and Chinese Traditional Music BY LAN JIANG Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Dr. Paul Laird Mr. Edward Laut Mr. David Leslie Neely Dr. Martin J. Bergee Dr. Bryan Kip Haaheim Defense Date: May 25, 2017 i The Dissertation Committee for Lan Jiang certifies that this is the approved version of the following dissertation: The Interaction of Cello and Chinese Traditional Music Chairperson Dr. Paul Laird Date approved: May 30, 2016 ii Abstract This document concerns the interaction of the cello and Chinese traditional music with an emphasis on three major areas. An historical introduction to western music in China includes descriptions of its early appearances and development, musical education influences, and how the cello became an important instrument in China. The second section is a discussion of techniques of western music and Chinese traditional music as used by Chinese composers, who write works in both styles separately and in admixtures of the two. The third section is a description of four Chinese works that include cello: “《二泉印月》” (Reflection of Moon in Er-Quan Spring), 《“ 川腔》” (The Voice of Chuan), “《渔舟唱晚》” (The Melodies of the Fishing Night), and “《对话集 I》” (Dialogue I). Analysis of these four works helps show how the cello has been assimilated into Chinese traditional music in both solo and ensemble fields, with specific looks at incorporating traditional performing techniques on the cello, the imitation of programmatic themes and aspects of Chinese culture in such works, and complex issues concerning aspects of performance. -
Differential Cognitive Responses to Guqin Music and Piano Music in Chinese Subjects: an Event-Related Potential Study
Neurosci Bull February 1, 2008, 24(1): 21-28. http://www.neurosci.cn DOI: 10.1007/s12264-008-0928-2 21 ·Original Article· Differential cognitive responses to guqin music and piano music in Chinese subjects: an event-related potential study Wei-Na ZHU 1, Jun-Jun ZHANG1, Hai-Wei LIU1, Xiao-Jun DING1,2, Yuan-Ye MA1,3, Chang-Le ZHOU1 1Mind, Art and Computation Laboratory, Institute of Artificial Intelligence, School of Information Science and Technology, Xiamen University, Xiamen 361005, China 2College of Foreign Languages and Cultures, Xiamen University, Xiamen 361005, China 3Kunming Institute of Zoology, Chinese Academy of Sciences, Kunming 650223, China Abstract: Objective To compare the cognitive effects of guqin (the oldest Chinese instrument) music and piano music. Methods Behavioral and event-related potential (ERP) data in a standard two-stimulus auditory oddball task were recorded and analyzed. Results This study replicated the previous results of culture-familiar music effect on Chinese subjects: the greater P300 amplitude in frontal areas in a culture-familiar music environment. At the same time, the difference between guqin music and piano music was observed in N1 and later positive complex (LPC: including P300 and P500): a relatively higher participation of right anterior-temporal areas in Chinese subjects. Conclusion The results suggest that the special features of ERP responses to guqin music are the outcome of Chinese tonal language environments given the similarity between Guqin’s tones and Mandarin lexical tones. Keywords: music; guqin; piano; cognitive process; event-related potential (ERP); N1; LPC; P300 1 Introduction and long-lasting positivity[16]. There are some other studies available regarding about the effects of cross-cultural music Music is considered as a culturally specific phenom- on the musical synchronization[7], music phrase perception enon and characterized with ethnic background, social envi- [15] and music scale structure[16]. -
JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary
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. -
I TABLE of CONTENTS ERHU AS VIOLIN: DEVELOPMENT OF
ERHU AS VIOLIN: DEVELOPMENT OF CHINA’S REPRESENTATIVE MUSICAL INSTRUMENT, c. 1990-2008 by Shuo Zhang B.S. in Environmental Science, Peking University, 2006 Submitted to the Graduate Faculty of School of Arts and Science in partial fulfillment of the requirements for the degree of Master of Arts University of Pittsburgh 2009 TABLE OF CONTENTS i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCE This thesis was presented by Shuo Zhang It was defended on Apr.23, 2009 and approved by Roger Zahab, Lecturer, Department of Music Andrew N. Weintraub, Associate Professor, Department of Music Bell Yung, Professor, Department of Music, Thesis Advisor ii Copyright © by Shuo Zhang 2009 iii ERHU AS VIOLIN: DEVELOPMENT OF CHINA’S REPRESENTATIVE MUSICAL INSTRUMENT, c. 1990-2008 Shuo Zhang, M.A. University of Pittsburgh, 2009 Erhu is known internationally as a symbol of Chinese music. While the instrument has a history of nearly a millennium, its solo repertory in concert performance developed only in the past 100 years or so, drawing upon traditional Chinese material. The enormous influence of Western culture arrived with the open door policy of China in the late 1970s gave rise to new trends of Westernization in the Chinese instrumental music. Erhu, due to its similarity to the violin, underwent great transformation, particularly in its playing technique and repertory on the concert stage. During the decade of 1980s, erhu musicians began to perform arranged violin repertoire. Pieces like Zigeunerweisen and Carmen Fantasy became standard erhu concert repertoires, and also as a symbol for the virtuoso of erhu playing. Other influences include an imitation of the violin to perform standing up, allowing greater bodily movement and stage presence. -
China and the West: Music, Representation, and Reception
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Revised Pages China and the West Revised Pages Wanguo Quantu [A Map of the Myriad Countries of the World] was made in the 1620s by Guilio Aleni, whose Chinese name 艾儒略 appears in the last column of the text (first on the left) above the Jesuit symbol IHS. Aleni’s map was based on Matteo Ricci’s earlier map of 1602. Revised Pages China and the West Music, Representation, and Reception Edited by Hon- Lun Yang and Michael Saffle University of Michigan Press Ann Arbor Revised Pages Copyright © 2017 by Hon- Lun Yang and Michael Saffle All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2020 2019 2018 2017 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Names: Yang, Hon- Lun, editor. | Saffle, Michael, 1946– editor. Title: China and the West : music, representation, and reception / edited by Hon- Lun Yang and Michael Saffle. Description: Ann Arbor : University of Michigan Press, 2017. | Includes bibliographical references and index. Identifiers: LCCN 2016045491| ISBN 9780472130313 (hardcover : alk.