DOCSLIB.ORG

The Taiwan Yueqin Folk Music Festival

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Taiwan Yueqin Folk Music Festival EAPC 1 (1) pp. 155–161 Intellect Limited 2015 East Asian Journal of Popular Culture Volume 1 Number 1 © 2015 Intellect Ltd Field Report. English language. doi: 10.1386/eapc.1.1.155_1 FIELD REPoRt Benjamin Hlavaty the taiwan yueqin Folk music Festival aBstract Keywords The yueqin is a traditional stringed instrument found in East Asian and South yueqin East Asian countries. Taiwan yueqins come in various shapes with different timbres Chen Ming-chang and numbers of strings. The Taiwan yueqin minyao xiehui / Taiwan Yueqin Folk nativism Music Association, a group run by Taiwan pop-folk music icon Chen Ming-chang, Taiwan Folk Music annually holds Taiwan yueqin minyao ji / Taiwan Yueqin Folk Music Festival, a Hengchun music festival promoting yueqin songs sung in Taiyu, the language that while is not popularization the official language of what is still known as the Republic of China, is the native ethnonationalism language of the Hoklo ethnic majority. Since 2012, the festival has been held held indoors in the Beitou Hot Springs Museum, a building that was constructed during the Japanese colonial period (1895–1945). Also since 2012, the festival is not purely performed by Hoklo Taiwanese. Having been introduced to an aspiring student of shamisen master Kazuo Shibutani by his own student in 2009, Chen Ming-chang now invites Shibutani and his troupe to Taiwan to perform alongside him. Note: Chinese terms are given in the Mandarin transliteration system hanyu pinyin and Han characters. Hoklo folk song titles are given in the Hoklo writing system Peh-ōe-jī and Han characters if available. Proper names are given in Mandarin unless they were used in Hoklo during this event. 155 EAPC_1.1_Hlavaty_155-161.indd 155 10/11/14 8:19:45 AM Benjamin Hlavaty 1. Beitou is the As the months grow cooler in Taiwan, the Beitou1 Hot Springs Museum northernmost part hosts the Taiwan yueqin minyao ji / Taiwan Yueqin Folk Music Festival. The of Taipei City proper, known for its hot yueqin (月琴), literally meaning ‘moon lute’ or ‘moon guitar’, is a traditional springs, natural beauty stringed instrument found in East Asian and South East Asian countries. and vibrant local culture. Taiwan yueqins come in various shapes with different timbres and numbers of strings. The yueqin generally promoted by the Taiwan yueqin minyao xiehui / 2. Minnanhua originated in Fujian, China, where Taiwan Yueqin Folk Music Association, a group run by Taiwan pop-folk music the ancestors of the icon Chen Ming-chang, has a round hollow wooden body with two strings majority of Taiwanese tuned with large tuning pegs and a fretted neck arranged diatonically; the frets had come from. are high enough that the strings can be easily bent to semitones on the lower 3. Popular thinking and frets, though the octaves on traditional Taiwan yueqins are far from pure. The politics categorize Taiwan people into strings are often plucked with picks of various cuts and resilience, fingers or one of four ethnic the thumbnail. Virtually ignored as a base instrument before, it gained some groups, being Hoklo respect when Taiwan ethno-musicologist Hsu Chang-hui brought Chen Da locals, Hakka locals, mainlanders and to public attention during Taiwan’s nativist movement in the late 1960s and aborigines. 1970s, and the latter’s beggar past and near blindness propelled him as a nativist symbol to intellectuals and activists. Chen Da remains as the arche- typical musician of Hengchun Folk, and the yueqin he was seen playing is the type that Chen Ming-chang’s numerous students in Beitou carry. In 2008, the successful local film Haijiao qihao / Cape No. 7 rekindled public interest in the instrument that Chen Ming-chang has worked to make a musical totem of Taiwan nativist identity. The festival started in 2011 as an outdoor event purely run and performed by Taiwan locals singing in Hoklo, otherwise known as Minnahua2 that is the native language of the Hoklo ethnic majority3. This language is commonly referred to as Taiyu / Taiwanese, though the singular official language of Taiwan has been Mandarin Chinese since Kuomintang (KMT) takeover in 1945. With the success of 2011, the Beitou Hot Springs Museum moved the 2012 festival indoors with the audience gathering in front of the stage in the main tatami room, and taking place on all weekends during the month of September. The building was constructed during the Japanese colonial period (1895–1945), and remnants of early twentieth-century Taiwan have been preserved in what has become promoted as an important part of Taiwan’s cultural heritage. This time around, however, the festival is not purely performed by Hoklo Taiwanese. Having been introduced to an aspiring student of shamisen master Kazuo Shibutani by his own student in 2009, Chen Ming-chang invited Shibutani and his troupe to Taiwan to perform alongside him for the first time. The backstage of the 2012 festival showcases a large installation artwork of twelve yueqins that are arranged upright in a circle in a design similar to the numerical placement on a clock (see Figure 1). Chen had hired artist and musician Kao Hsien-chih to paint the yueqins that were to decorate the stage. One could say that the 2012 festival was the beginning of the painted yueqin fad, as previous embellishment of the instrument was generally limited to signatures in black marker from teachers and classmates. The 2012 and 2013 festivals were both titled ‘Beh thiann bîn-iâu lâi Pak-tâu’ / ‘If you want to hear folk songs, come to Beitou’, a variation on ‘Beh thiann bîn-iâu lâi goan-tau’ / ‘If you want to hear folk songs, come to my place’ for the 2007 solo album by Chu Ting-shun. Sung by Chu at the inaugural festival in 2011, the piece employs the minor key and a choral ‘ho-hai-ya’ chant as an affirmation of aboriginal ancestry that has been commonly accepted by nativist Taiwanese since the previous decade. Chu was set to perform during the 2012 festival on 28 September, but was unable to do so due to health issues. Chu 156 EAPC_1.1_Hlavaty_155-161.indd 156 10/11/14 8:19:45 AM the taiwan Yueqin Folk Music Festival Figure 1: Chen Ming-chang (left) performing a duet with shamisen master Kazuo Shibutani (right) at the second Taiwan Yueqin Folk Music Festival in 2012. (Photo courtesy of the Taiwan Yueqin Folk Music Association.) passed away a few months later on 26 December at the age of 84, having only 4. H. Bangka / Ch. Wanhua is one of the oldest been recognized as a national treasure in his twilight years. In 2000, Taiwan neighbourhoods in ethno-musicologist Wu Rung-Shun published Chu’s recordings and called downtown Taipei. him ‘the master of Hengchun Folk’ (linear notes, p. 29 [author’s translation]). The largest event of these seven September weekend days took place on 29 September 2012, when musicians who had performed on all weekends before were gathered together, along with amateur musicians, for a day-long event. Performances varied from strictly traditional to newly contemporized. Aside from Chu, two other elderly yueqin masters were invited to perform, thus allowing the audience to hear the authentic roots of this music. Yang Hsiu-ching, born in 1934, offers listeners a performance of authentic liām- kua, a Taiwan folk style with spoken and often improvised lyrics that tell a familiar, and sometimes macabre, story, such as the ghost of a woman gain- ing vengeance on an unfaithful husband, accompanied by picked single-string melodies. She and Bangka4-based liām-kua master Wang Yu-chuan, who was born in 1923, had also performed at the 2011 festival. One group of musicians who had been performing folk music well before the yueqin revival propelled by Chen is the Xuyang minsu chhia-kóo xituan / Rising Sun chhia-kóo Folk Troupe, a traditional group made up of two men and one woman. The men play the three-stringed yueqin and the daguangxian, the latter being a two-stringed low-pitched traditional bowed instrument in the huqin family, while the woman, wearing flowing Chinese dress and scarf, gracefully sings and dances the nanguan song ‘Khoànn teng goân-siau’ / ‘Lantern Festival’5 in the H. chhia-kóo / Ch. chegu style. 157 EAPC_1.1_Hlavaty_155-161.indd 157 10/11/14 8:21:11 AM Benjamin Hlavaty 5. The Lantern Festival Chhia-kóo is a type of musical theatrical performance that spread in the falls on the fifteenth of the first lunar month, central and southern coastal areas of Taiwan from Zhangzhou and Quanzhou marking the end of the in Fujian, China. Lunar New Year. Troupes of yueqin students at various levels performed both folk and 6. Green is the traditional popular songs. At risk of leaving out many honourable mentions, the majority colour of the DPP, of this field report discusses a handful of noteworthy performances. Oo-niau whilst blue is that of - the KMT. nî-tai / The Age of the Black Cat is a troupe made up of seven middle-aged women identically outfitted in black and gold and who play both folk and 7. Termed as such by Yoshihisa Amae in this popular songs. While most of the songs they play are done in the traditional issue, the ethnic fault monophony in which many of these yueqin folk songs are performed, the lines dividing Taiwan troupe ends their appearance with a performance of Chen Ming-chang’s hit society are most apparent in politics. ballad ‘I sī lán-ê pó-pòe’ / ‘She’s Our Darling’, the women having been taught by Chen to play the firsts and fifths of the chords on a two-stringed yueqin.
Load more

Recommended publications
  • AGARIE, HIDEO, Part-Time Lecturer, University of Nagoya for Foreign Studies, JAPAN, Ahideo1969@Yahoo
    HIGA, ETSUKO, Director, Ginowan City Museum, OKINAWA Uzagaku: Chinese music performed in the Ryukyuan Court Panel: Past and Future of Okinawa Music and Art According to Chuzan Seikan, the first official history of Ryukyuan (Chuzan) Kingdom compiled by the royal government in 1650, ‘the Emperor of the Ming (China) sent the members of 36 (i.e. a large number of) families from the district of Fujian province to Ryukyu in 1392, and it was from this time that the rites and music of China began to be practiced also in the Ryukyuan court.’ It is not known precisely that the music was what ‘the rite and music’ referred to at that time, but assuming that the music was similar to that of the Uzagaku and Rujigaku genres handed down within Okinawa until 1879. Uzagaku was generally performed indoors, while Rujigaku was a type of outdoor processional music featuring instruments such as the reed pipe known as sona, the rappa trumpet, and drums. Uzagaku instruments included about 18 different instruments such as pipa, yueqin, yangqin, huqin, sanhsien, erhsien, sona, drum, and gongs. In my recent research on the theme of Uzagaku, the similar ensembles are found in the mainland Japan (‘Ming-Qing’ Music), Taiwan, and Vietnam. Although the indigenous root of Uzagaku is not yet known, it should be noticed that Uzagaku is a genre which has a close association with the music culture of its neighboring countries of Asia, where had been politically and socially related with the Great China from the 14th to19th century. .
    [Show full text]
  • A Review of the Origin and Evolution of Uygur Musical Instruments
    2019 International Conference on Humanities, Cultures, Arts and Design (ICHCAD 2019) A Review of the Origin and Evolution of Uygur Musical Instruments Xiaoling Wang, Xiaoling Wu Changji University Changji, Xinjiang, China Keywords: Uygur Musical Instruments, Origin, Evolution, Research Status Abstract: There Are Three Opinions about the Origin of Uygur Musical Instruments, and Four Opinions Should Be Exact. Due to Transliteration, the Same Musical Instrument Has Multiple Names, Which Makes It More Difficult to Study. So Far, the Origin of Some Musical Instruments is Difficult to Form a Conclusion, Which Needs to Be Further Explored by People with Lofty Ideals. 1. Introduction Uyghur Musical Instruments Have Various Origins and Clear Evolution Stages, But the Process is More Complex. I Think There Are Four Sources of Uygur Musical Instruments. One is the National Instrument, Two Are the Central Plains Instruments, Three Are Western Instruments, Four Are Indigenous Instruments. There Are Three Changes in the Development of Uygur Musical Instruments. Before the 10th Century, the Main Musical Instruments Were Reed Flute, Flute, Flute, Suona, Bronze Horn, Shell, Pottery Flute, Harp, Phoenix Head Harp, Kojixiang Pipa, Wuxian, Ruan Xian, Ruan Pipa, Cymbals, Bangling Bells, Pan, Hand Drum, Iron Drum, Waist Drum, Jiegu, Jilou Drum. At the Beginning of the 10th Century, on the Basis of the Original Instruments, Sattar, Tanbu, Rehwap, Aisi, Etc New Instruments Such as Thar, Zheng and Kalong. after the Middle of the 20th Century, There Were More Than 20 Kinds of Commonly Used Musical Instruments, Including Sattar, Trable, Jewap, Asitar, Kalong, Czech Republic, Utar, Nyi, Sunai, Kanai, Sapai, Balaman, Dapu, Narre, Sabai and Kashtahi (Dui Shi, or Chahchak), Which Can Be Divided into Four Categories: Choral, Membranous, Qiming and Ti Ming.
    [Show full text]
  • Voices of Eternal Spring
    Voices of Eternal Spring: A study of the Hingcun diau Song Family and Other Folk Songs of the Hingcun Area, Taiwan Submitted for PhD By Chien Shang-Jen Department of Music University of Sheffield January 2009 Chapter Four The Developmental Process and Historical Background of Hingcun Diau and Its Song Family Introduction The previous three chapters of this thesis detailed the three major systems of Taiwanese folksongs - Aboriginal, Holo and Hakka. Concentrating on the area of Hingcun, one of the primary cradles of Holo folksongs, these three chapters also explored how the geographical conditions, natural landscape, and historical and cultural background of the area influence local folksongs and what the mutual relations between these factors and the local folksongs are. Furthermore, the three chapters studied in depth not only the background, characteristics and cultural influences of each of the Hingcun folk songs but also local prominent folksong figures, major accompanying musical instruments, musical activities and so on. Chapter Four narrows the focus specifically to Hingcun diau and its song family. In this chapter, on the one hand, I examine carefully the changes in Hingcun diau and its song family activated from within a culture; on the other hand, I also pay attention to the changes in these songs caused by their contact with other cultures.1 In other words, in addition to a careful study of the origin, developmental process and historical background of Hingcun diau and its song family, I shall also dissect how the interaction of different ethnic groups, languages used in the area, political and economic factors, and various local cultures influence Hingcun diau and its song family, and what the mutual relations between the former factors and Hingcun diau and its song family are.
    [Show full text]
  • Chinese Zheng and Identity Politics in Taiwan A
    CHINESE ZHENG AND IDENTITY POLITICS IN TAIWAN A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC DECEMBER 2018 By Yi-Chieh Lai Dissertation Committee: Frederick Lau, Chairperson Byong Won Lee R. Anderson Sutton Chet-Yeng Loong Cathryn H. Clayton Acknowledgement The completion of this dissertation would not have been possible without the support of many individuals. First of all, I would like to express my deep gratitude to my advisor, Dr. Frederick Lau, for his professional guidelines and mentoring that helped build up my academic skills. I am also indebted to my committee, Dr. Byong Won Lee, Dr. Anderson Sutton, Dr. Chet- Yeng Loong, and Dr. Cathryn Clayton. Thank you for your patience and providing valuable advice. I am also grateful to Emeritus Professor Barbara Smith and Dr. Fred Blake for their intellectual comments and support of my doctoral studies. I would like to thank all of my interviewees from my fieldwork, in particular my zheng teachers—Prof. Wang Ruei-yu, Prof. Chang Li-chiung, Prof. Chen I-yu, Prof. Rao Ningxin, and Prof. Zhou Wang—and Prof. Sun Wenyan, Prof. Fan Wei-tsu, Prof. Li Meng, and Prof. Rao Shuhang. Thank you for your trust and sharing your insights with me. My doctoral study and fieldwork could not have been completed without financial support from several institutions. I would like to first thank the Studying Abroad Scholarship of the Ministry of Education, Taiwan and the East-West Center Graduate Degree Fellowship funded by Gary Lin.
    [Show full text]
  • Worksheet 1.1A Classification of String Instruments
    Worksheet 1.1a Classification of String Instruments String Instruments Chordophones • vibrating strings to produce sound Bowed strings Plucked strings Other string instruments: Worksheet 1.1b Classification of Wind Instruments Wind Instruments Aerophones • vibrating air columns to produce sound Side-blown End-blown Multiple pipes Double reed Other: Worksheet 1.2a Comparing Jiangnan Sizhu and Xianshi Music (for elementary students) Draw a picture that represents the music (jiangnan sizhu): Draw a picture that represents the music (xianshi): Discuss with your classmates how the two pieces of music are different. Then listen to the two pieces again to identify those differences. Worksheet 1.2b Comparing Jiangnan Sizhu and Xianshi music (for secondary and collegiate-level students) Jiangnan Sizhu (CD track 1) Xianshi (CD track 13) Type of instruments Group size Tempo Melody Texture Rhythm and meter Discuss any similarities and differences. Then listen to the two pieces again to identify the similarities and differences. Proceed to Activity 1.5 (pages 19-20). Worksheet 1.3 Identify Local Music Groups Provide a list of music groups who make music on a regular basis. Classify them as amateur or professional. If you have difficult deciding whether a group is amateur or professional, discuss with classmates or consult with the teacher. You may identify as few as one group and as many as ten in each category. Amateur Professional 1. 1. 2. 2. 3. 3. 4. 4. 5. 5. 6. 6. 7. 7. 8. 8. 9. 9. 10. 10. Based on this list, choose one or two groups for conducting local fieldwork. Ideally, there should be one group from each category for the local fieldwork.
    [Show full text]
  • Music & Entertainment Life & People in East Asia
    Music & Entertainment Life & People in East Asia -- A brief introduction History & Musical Instruments • Chinese History is very long!! • Pre-dynastic: flutes, ocarinas, bronze bells, stone chimes • Shang (16 th -11 th c. BC) and Zhou (11 th -221 BC): Sophisticated stringed instruments • Qin (221 BC-207 BC) and Han (206 BC – 220 AD): portable plucked instruments • Wei (220 – 265) Jin (265 – 420) through Tang: double reeds, bowed fiddles. • Song, Yuan, Ming, Qing: fiddle popularity Court, Religious, Folk • Music seen by Kongzi(Confucious) as ritual, vital to the regulation of the state: the material of the instruments expressed the material of the universe • Foreign Influences (trade routes, captives, ethnic groups) on “folk” and “urban” entertainment • Buddhist chant • Don’t forget the 20 th century! Areas of Chinese Influence Instruments • The eight categories are: silk, bamboo, wood, stone, metal, clay, gourd and hide . • (Western instruments are: wind, brass, percussion, strings ) Silk | Guqin (Zither) • Seven strings, no frets, no bridges • Associated with the literati (a man's instrument) • Made from a special wood • Called the koto in Japan • Dates from the Warring States Period • Joy of Gods and Men 神人畅 (http://youtube.com/watch?v=VO9S5pHxaA8 ) Silk | plucked • Guzheng (古箏) – 16-26 stringed zither with movable bridges High Mountain and Flowing Water (http://youtube.com/watch?v=UBbUuvGl8kc ) • JAPAN: Koto (http://www.youtube.com/watch?v=dhxl QlZafvY ) • KOREA: Kayageum , Kumongo Silk | plucked • Pipa (琵琶) - 4 or 5 stringed pear-shaped
    [Show full text]
  • Musical Taiwan Under Japanese Colonial Rule: a Historical and Ethnomusicological Interpretation
    MUSICAL TAIWAN UNDER JAPANESE COLONIAL RULE: A HISTORICAL AND ETHNOMUSICOLOGICAL INTERPRETATION by Hui‐Hsuan Chao A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2009 Doctoral Committee: Professor Joseph S. C. Lam, Chair Professor Judith O. Becker Professor Jennifer E. Robertson Associate Professor Amy K. Stillman © Hui‐Hsuan Chao 2009 All Rights Reserved ACKNOWLEDGEMENTS Throughout my years as a graduate student at the University of Michigan, I have been grateful to have the support of professors, colleagues, friends, and family. My committee chair and mentor, Professor Joseph S. C. Lam, generously offered his time, advice, encouragement, insightful comments and constructive criticism to shepherd me through each phase of this project. I am indebted to my dissertation committee, Professors Judith Becker, Jennifer Robertson, and Amy Ku’uleialoha Stillman, who have provided me invaluable encouragement and continual inspiration through their scholarly integrity and intellectual curiosity. I must acknowledge special gratitude to Professor Emeritus Richard Crawford, whose vast knowledge in American music and unparallel scholarship in American music historiography opened my ears and inspired me to explore similar issues in my area of interest. The inquiry led to the beginning of this dissertation project. Special thanks go to friends at AABS and LBA, who have tirelessly provided precious opportunities that helped me to learn how to maintain balance and wellness in life. ii Many individuals and institutions came to my aid during the years of this project. I am fortunate to have the friendship and mentorship from Professor Nancy Guy of University of California, San Diego.
    [Show full text]
  • Download Article
    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.
    [Show full text]
  • 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.
    [Show full text]
  • 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♭.
    [Show full text]
  • 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.
    [Show full text]
  • Detailed Instrument List & Descriptions
    DIRECTORY OF INSTRUMENTS IN GARRITAN WORLD INSTRUMENTS 66 THE WIND INSTRUMENTS ARIA name: Description: Controls: Africa Arghul The Arghul is a reed woodwind instrument that Vel (attack), MW consists of two asymmetrical pipes. One pipe, (vol/eq), Porta, a chanter with between five and seven finger Lgth, VAR1, holes, is dedicated to the melody. The second VAR2, FiltLv, pipe, longer than the first, produces a drone. FiltFq, VibSpd, Arghuls come in different sizes and are played in Vib Amt, AirNs, Egypt and surrounding regions. Fluttr, Auto- • Range: C3- C6 Legato, BndSpd, Keyswitches Mijwiz 1 The Mijwiz is a traditional instrument of Egypt Vel (attack), MW and is one of the oldest wind instruments. Its (vol/eq), Porta, name means “dual” as it consists of two short Lgth, VAR1, bamboo reed pipes tied together. Instead of hav- VAR2, FiltLv, ing a separate reed attached to a mouthpiece, FiltFq, VibSpd, the reed in the Mijwiz is a vibrating tongue Vib Amt, AirNs, made from a slit cut into the wall of the instru- Fluttr, Auto- ment itself. Legato, BndSpd, • Range: C3 - C6 Keyswitches Mijwiz 2 Another Mijwiz instrument with a different Vel (attack), MW range and character. (vol/eq), Porta, • Range: C4 - C6 Lgth, VAR1, VAR2, FiltLv, FiltFq, VibSpd, Vib Amt, AirNs, Fluttr, Auto- Legato, BndSpd, Keyswitches A User’s Guide to Garritan World Instruments THE WIND INSTRUMENTS ARIA name: Description: Controls: China Bawu The Bawu is a side-blown wind instrument Vel (attack), MW found throughout China. Although it re- (vol/eq), Porta, Lgth, sembles a flute, it is actually a reed instrument.
    [Show full text]