嶺南音樂天地 the Music Scene at Lingnan
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Research on the Development and Application of Kindergarten Curriculum Based on Traditional Chinese Culture
Creative Education, 2018, 9, 280-284 http://www.scirp.org/journal/ce ISSN Online: 2151-4771 ISSN Print: 2151-4755 Research on the Development and Application of Kindergarten Curriculum Based on Traditional Chinese Culture Jinzhi Zhang Rizhao Polytechnic, Rizhao, China How to cite this paper: Zhang, J. Z. Abstract (2018). Research on the Development and Application of Kindergarten Curriculum Chinese traditional culture is the wisdom crystallization of the laboring people Based on Traditional Chinese Culture. of our country in the development of history. It contains excellent education Creative Education, 9, 280-284. resources such as excellent classic, handicraft and folk game. Integrating tra- https://doi.org/10.4236/ce.2018.92018 ditional culture into the education stage of children, can make children expe- Received: January 17, 2017 rience and appreciate the excellent culture of Chinese people from an early Accepted: February 11, 2018 age, help young children to establish a good moral quality, and form a fine Published: February 14, 2018 character. Preschool period is a critical period for children’s physical and Copyright © 2018 by author and mental development. Children education stage is an important part of child- Scientific Research Publishing Inc. ren’s acceptance of education, and it is the beginning stage of preschool edu- This work is licensed under the Creative cation, which has important influence on children’s future study and life de- Commons Attribution International License (CC BY 4.0). velopment. Therefore, we should fully tap the education resources in Chinese http://creativecommons.org/licenses/by/4.0/ traditional culture, provide the most classic and valuable content for children Open Access education, and build a good foundation for children’s future development. -
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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. -
Teachers' Guide to Set Works and the World Focus
Cambridge Secondary 2 Teachers’ Guide to set works and the World Focus Cambridge IGCSE® (9–1) Music 0978 For centres in the UK For examination in June and November 2019. Version 1 Cambridge International Examinations is part of the Cambridge Assessment Group. Cambridge Assessment is the brand name of the University of Cambridge Local Examinations Syndicate (UCLES), which itself is a department of the University of Cambridge. UCLES retains the copyright on all its publications. Registered centres are permitted to photocopy any material that is acknowledged to a third party even for internal use within a centre. ® IGCSE is the registered trademark Copyright © UCLES September 2017 Contents Felix Mendelssohn (1809–1847) .......................................................................2 Italian Symphony No. 4 in A major Op. 90 (Movements 2 and 4) 2 1 Background 2 2 Instruments 3 3 Directions in the score 3 4 Techniques 4 5 Structure and form 5 6 Commentary 6 Wolfgang Amadeus Mozart (1756–1791) ......................................................10 Clarinet Concerto in A major, K622 (Movement 1) 10 1 Background 10 2 Instruments 11 3 Directions in the score 12 4 Techniques 12 5 Structure and form 13 6 Commentary 14 World Focus for 2019: China ...........................................................................18 The ensemble music of China 18 1 Historical background 18 2 Types of silk-and-bamboo ensemble 19 3 Overall musical features of Chinese music 24 4 Notation and transmission 25 Cambridge IGCSE (9–1) Music 0978 Teachers’ Guide to set works and The World Focus for 2019. Felix Mendelssohn (1809–1847) Italian Symphony No. 4 in A major Op. 90 (Movements 2 and 4) There are a few small differences between editions of the score of this work (e.g. -
Appendix Vi Statutory and General Information
APPENDIX VI STATUTORY AND GENERAL INFORMATION 1. FURTHER INFORMATION ABOUT THE COMPANY A. Incorporation The Company was incorporated with an authorised share capital of HK$20,000,000 divided into 2,000,000 shares of HK$10.00 each on 2 January 1964. The Company was incorporated in Hong Kong under the Companies Ordinance on 2 January 1964 under the name of Hang Chong Investment Company, Limited (恒昌企業有限公司). The Company changed its name from Hang Chong Investment Company, Limited (恒昌企業有限公司) to Dah Chong Hong Holdings Limited (大昌貿易行集團有限公司) on 10 March 1994 and subsequently to Dah Chong Hong Holdings Limited (大昌行集團有限公司) on 7 January 2005. The Company’s registered office is at 8th Floor, DCH Building, 20 Kai Cheung Road, Kowloon Bay, Hong Kong. A summary of various parts of the Company’s Memorandum and Articles of Association is set out in Appendix V to this Prospectus. B. Changes in share capital of the Company As at 1 January 2004, the Company has an authorised share capital of HK$300,000,000 divided into 30,000,000 shares of HK$10.00 each. On 28 September 2007, it was resolved, amongst other resolutions, that: (a) (i) 2 shares of HK$10.00 each was allotted and issued to Silver Ray Enterprises Inc. (“Silver Ray”) at par, at the direction of CITIC Pacific and in settlement of HK$20.00 due from the Company to CITIC Pacific; (ii) each of the issued and unissued shares of HK$10.00 each in the share capital of the Company was consolidated into shares of HK$30.00 each (“Consolidated Share(s)”), resulting in the issued share capital of the Company -
An Analysis of Nanyin in Cantonese Opera Professor Chan Sau Yan (Learning and Teaching Material for Teachers’ Reference)
An Analysis of nanyin in Cantonese Opera Professor Chan Sau Yan (Learning and teaching material for teachers’ reference) Produced by Mr Lee Siu Yan, Mr Chow Shi Shum and Miss Chui Shing Yan Introduction Teaching yueju (粵劇) (Cantonese opera) and yuequ (粵曲) (Cantonese operatic song) as a music subject in the school curriculum must begin with listening to and appreciating the operas and songs, as well as attending live performances. In addition, these activities must work together with lectures to enable students to understand the basic structure and attraction of Cantonese opera music. nanyin (南音) is originally a music genre which is independent from opera. Belonging to a kind of shuochang (說唱), i.e., ballads, nanyin had been popular in the region of the Pearl River Delta and performed in Cantonese all along. Since the early 1920s, nanyin has been incorporated into Cantonese opera and Cantonese operatic songs, forming a shuochang system together with muyu (木魚), longzhou (龍舟), banyan (板 眼) and yue’ou (粵謳). And shuochang, banqiang (板腔) and qupai (曲牌) constitute the three major changqiang (唱腔) systems of Cantonese opera and Cantonese operatic songs. This unit will help teachers and students understand the features of the basic structure of yueju nanyin. Glossary baban banmian (八板板面) kuaiban (快板) ban (板) kuhou (苦喉) banmian (板面) laqiang (拉腔) banqiang (板腔) lianhuan nanyin (連環南音) banshi (板式) liushuiban (流水板) banyan (板眼) liu (六) baziju erhuang manban (八字句二黃慢板) liuzixu (六字句) baziju zhongban (八字句中板) longzhou (龍舟) changdiding (唱底叮) muyu (木魚) changduan -
Exploration on the Practice of Music Art in Higher Vocational Colleges
2020 Annual Conference of Education, Teaching and Learning (ACETL 2020) Exploration on the Practice of Music Art in Higher Vocational Colleges Xi Xiangyang College of Humanities, Shenzhen Polytechnic, Shenzhen, Guangdong, 518000, China email: [email protected] Keywords: Higher Vocational Education, Music Art, Practical Activities, Exploration Abstract: Music art practice is an important way of music teaching in higher vocational colleges, which can help students internalize theoretical knowledge and enhance their practical ability and improve their professional competitiveness. At present, the music art practice activities in higher vocational colleges have the problems of single way, weak practicality and lack of clear goal, so that the educational effect of practical courses is not obvious. In view of these situations, higher vocational colleges need to innovate and optimize the practical approach, teacher education concept and music teaching content, so that the practical curriculum can be carried out effectively. 1. The Value of Music Art Practice in Higher Vocational Colleges Under the background of the new curriculum reform, the music art practice course has become the key content of music specialty teaching in higher vocational colleges. The high-quality music art practice course has a positive influence on the students' practical ability, music comprehensive accomplishment and professional competitiveness. However, in the teaching practice, some higher vocational colleges do not pay enough attention to the music art practice course, and do not have enough understanding of the art practice and the way of development, so that the art practice can not achieve good results. Therefore, the music art practice pattern needs to carry on the thorough exploration research. -
Naming Ceremony of Wei Lun Square (1 November 2018)
About HSUHK The Hang Seng University of Hong Kong’s (HSUHK) roots reach back to the establishment of Hang Seng School of Commerce (HSSC) in 1980, with funding from the S H Ho Foundation, the Ho Tim Charitable Foundation, Dah Chong Hong Limited, several Hang Seng Bank founding directors, and Hang Seng Bank Limited. In 2010, HSSC was re-structured and became Hang Seng Management College (HSMC), a non-profit private university-level institution registered under the Post Secondary Colleges Ordinance (Cap 320) to offer bachelor’s and above degree programmes in diversified disciplines. Eight years later, on 30 October 2018, HSMC was granted approval by the Government of the Hong Kong Special Administrative Region (HKSAR) to change its name from “Hang Seng Management College” to “The Hang Seng University of Hong Kong”. HSUHK aspires to be a leading private liberal-arts-oriented university in the region, recognised for excellence in teaching, learning and research, serving and advancing our society and the world. HSUHK has five Schools - Business, Communication, Decision Sciences, Humanities and Social Science, and Translation, with a student population of around 5,800 and 200 full-time academic staff members. HSUHK features a primary focus on undergraduate education, top-quality faculty members, award-winning green campus facilities, innovative degree programmes, unique residential college system combining living and learning, interactive small class teaching, very close student-teacher relationship, RGC-funded impactful research, and excellent student development/support services. Vision Aspire to be a leading private liberal-arts-oriented university in the region, recognised for excellence in teaching, learning and research, serving and advancing our society and the world. -
Guangzhou Global City Development Report
Guangzhou Global City Development Report Guangzhou Academy of Social Sciences Guangzhou Urban lnnovation Research Center June 2019 Contact Us Institute of International Studies / Guangzhou Urban Innovation Research Center Guangzhou Academy of Social Sciences No.220 Runyun Road, Baiyun District, Guangzhou 510410, P.R. China Tel. +86 20 86464995 / Fax. +86 20 86464125 www. gzass.gd.cn / Email: [email protected] CONTENTS 1.Guangzhou: A Core City in the Guangdong-Hong Kong-Macao Greater Bay Area 1.1 Overview of the Guangdong-Hong Kong-Macao Greater Bay Area 01 1.2 Guangzhou in the Guangdong-Hong Kong-Macao Greater Bay Area 04 1.3 Guangzhou in Global City Rankings 05 2. Major International Events 2.1 Imperial Springs International Forum 07 2.2 Global Mayors’ Forum & 2018 Urban Innovation Conference and the 4th 08 Edition of Guangzhou Award 2.3 China Import and Export Fair (Canton Fair) 08 2.4 World Route Development Forum 09 2.5 Huangpu International Financial Media and Think Tank Forum 10 2.6 Guangzhou Cultural Industry Fair 10 2.7 2018 Guangzhou Forum on Global Cities: Ranking, Trend and Practice 11 3. International Economic and Trade 3.1 Import and Export Trade Runs Stable 13 3.2 Sustained Growth in Attracting Foreign Investment 14 3.3 Asia and Oceania are the major destinations of Guangzhou's outbound 17 investment 4. Comprehensive Transport Hub Construction 4.1 International Aviation Hub 18 4.2 International Shipping Center 21 4.3 Comprehensive Road Network 22 5. International Exchanges 5.1 International Friendship Network 23 5.2 Foreign Consulates in Guangzhou 23 5.3 International Organization Contacts 26 5.4 City Image Branding 27 5.5 Word Tourist Attraction 28 5.6 International Cultural Exchanges 28 6. -
MAPPING DIGITAL MEDIA: CHINA Mapping Digital Media: China
COUNTRY REPORT MAPPING DIGITAL MEDIA: CHINA Mapping Digital Media: China A REPORT BY THE OPEN SOCIETY FOUNDATIONS WRITTEN BY Hu Yong (lead researcher) Fang Kun, Liu Yang, Iris Ha, Zhang Yuping, Wang Mengyao, Kathryn Nute (researchers) EDITED BY Marius Dragomir and Mark Thompson (Open Society Media Program editors) Graham Watts (regional editor) EDITORIAL COMMISSION Yuen-Ying Chan, Christian S. Nissen, Dusˇan Reljic´, Russell Southwood, Michael Starks, Damian Tambini The Editorial Commission is an advisory body. Its members are not responsible for the information or assessments contained in the Mapping Digital Media texts OPEN SOCIETY MEDIA PROGRAM TEAM Meijinder Kaur, program assistant; Morris Lipson, senior legal advisor; and Gordana Jankovic, director OPEN SOCIETY INFORMATION PROGRAM TEAM Vera Franz, senior program manager; Darius Cuplinskas, director 9 July 2012 Contents Mapping Digital Media ..................................................................................................................... 4 Executive Summary ........................................................................................................................... 6 Context ............................................................................................................................................. 11 Social Indicators ................................................................................................................................ 13 Economic Indicators ........................................................................................................................ -
Heritagising the Everyday : the Case of Muyuge Cuiyan WEN
Lingnan University Digital Commons @ Lingnan University All Open Access Theses and Dissertations Theses and Dissertations 10-10-2018 Heritagising the everyday : the case of Muyuge Cuiyan WEN Follow this and additional works at: https://commons.ln.edu.hk/otd Part of the Critical and Cultural Studies Commons Recommended Citation Wen, C. (2018). Heritagising the everyday: The case of Muyuge (Doctor's thesis, Lingnan University, Hong Kong). Retrieved from https://commons.ln.edu.hk/otd/20 This Thesis is brought to you for free and open access by the Theses and Dissertations at Digital Commons @ Lingnan University. It has been accepted for inclusion in All Open Access Theses and Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. HERITAGISING THE EVERYDAY THECASEOFMUYUGE WEN CUIYAN PHD LINGNAN UNIVERSITY 2018 HERITAGISING THE EVERYDAY THECASEOFMUYUGE by WEN Cuiyan 温翠艳 Athesis submitted in partial fulfillment ofthe requirements for the Degree of Doctor of Philosophy in Cultural Studies Lingnan University 2018 ABSTRACT Heritagising the Everyday The Case of Muyuge by WEN Cuiyan Doctor of Philosophy Ever since the commencement of the new millennium, intangible cultural heritage, the cultural concept and campaign promoted by the UNESCO has rapidly spread the world. In China, thousands oftraditional cultures and everyday practices have been absorbed into the intangible heritage system over the past decade, which is reshaping people's perception and engagement with everyday life and traditions. Intangible cultural heritage as an 'imported' concept has been highly localised and resituated in contemporary China. -
Contents Welcome
Contents Welcome 1.1 Location ____________________________________________________ 3 1.2 Arrival & Departure _________________________________________ 3 CATEGORIES 2.1 Open Classes by Height and Weight __________________________ 4 2.2 Categories __________________________________________________ 4 COMPETITION INFORMATION 3.1 Dates & times _______________________________________________ 5 3.2 Preliminary entry form _______________________________________ 5 3.3 Competitor Information Form _________________________________ 5 3.4 Final Entry Form _____________________________________________ 5 3.5 Contest Entry Fee ____________________________________________ 5 3.6 Athletes without delegates ____________________________________ 5 3.7 Judges _______________________________________________________ 5 3.8 Medical withdrawal ___________________________________________ 6 3.9 Correspondence/Contact Information __________________________ 6 COMPETITOR REQUIREMENTS 4.1 Posing Music _________________________________________________ 6 4.2 National Flags/Anthem ________________________________________ 6 4.3 Tanning ______________________________________________________ 6 4.4 Event Information _____________________________________________ 7 VENUES 5.1 Official Hotel __________________________________________________ 7-8 5.2 Site of Event __________________________________________________ 8 5.3 Accommodation _______________________________________________ 8-9-10 5.4 Hotel Security Deposit ________________________________________ 10 5.5 Official Training -
The Role Ofhugo Cds in Chinese Cultural Memory
The SoundScape of China: The Role ofHUGO CDs in Chinese Cultural Memory Wong King-chung A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy In Ethnomusicology © The Chinese University of Hong Kong January 2005 The Chinese University of Hong Kong holds the copyright of this thesis. Any person(s) intending to use a part or whole of the materials in the thesis in a proposed publication must seek copyright release from the Dean of the Graduate School. N^^BRARY SYSTEMx^W Abstract The SoundScape of China: The Role of HUGO CDs in Chinese Cultural Memory Abstract Wong King-chung Audio-visual media, such as cassette tapes, CDs, VCDs, MDs, DVDs, and MPS have fostered and indeed accelerated changes in musical cultures around the world. People not only leam music from scores and manuscripts, but also leam and experience from recordings. In addition, audio-visual media not only record music, but also provide a new kind of aural transmission. As a window of China, Hong Kong began her cooperation with Chinese record companies to record music in the early 1900s. Indeed, the recording industry of Hong Kong was established in the 1920s. The flourishing development of the recording industry in the territory was marked by the establishment of both foreign-owned and Chinese record companies. They produced numerous records of Guangdongyinyue (廣東音樂)[Cantonese music] andj^weyw (專劇)[Cantonese opera]. The broadcasting industry in the Guangdong area was congenial to the development of the recording industry, and it undoubtedly facilitated the growth of record companies in Hong Kong.