De La Música Tradicional De China. Selección
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Special Wuhan Composition Makes European Debut
18 | Monday, February 24, 2020 HONG KONG EDITION | CHINA DAILY LIFE Museums exhibit tech Shows of solidarity nous for home users XI’AN — Li Bin, an avid visitor of museums from the northwestern Chinese city of Xi’an, has never had a better view of the upholstery of a chair in Beijing’s Palace Museum. Sitting comfortably at home and putting on a device featuring virtual reality technology, Li toured the museum through its online exhibi- tion program, getting an up-close and personal view of the precious exhibits presented in crystal-clear 3D. “During a field trip to the Palace Museum, it can be tough to visit some of its hidden places and view all of the palace decorations in detail,” says Li. “VR technology has made these expe- The nation’s performing arts riences possible.” Amid the coronavirus outbreak, industry is working hard to many museums and galleries in Chi- na have been closed to visitors to pre- lessen the potential financial vent the spread of the epidemic. impact of COVID-19, as well as However, they have launched or repackaged various online exhibi- using technology to serve tions to provide a satisfactory touring audiences as best it can now, experience for the country’s vast number of stay-at-home visitors. Chen Nan reports. In Chongqing in Southwest China, the Chongqing China Three Gorges Museum and the Chongqing Natural History Museum are among those offering exhibitions online. Visitors can find audio guides to nevitably, the novel coronavi- promoting charity performances According to Zheng Honglin, who more than 30 exhibitions and videos rus outbreak has had a mas- and offering free shows to medical is in charge of Gong’s program, it is on 10 others through CCTGM’s offi- sive impact on China’s workers on the front line of the about training young talent to cial account on WeChat during their performing arts market. -
The Chinese Phonetic Transcriptions of Old Turkish Words in the Chinese Sources from 6Th -9Th Century Focused on the Original Word Transcribed As Tujue 突厥*
The Chinese Phonetic Transcriptions of Old Title Turkish Words in the Chinese Sources from 6th - 9th Century : Focused on the Original Word Transcribed as Tujue 突厥 Author(s) Kasai, Yukiyo Citation 内陸アジア言語の研究. 29 P.57-P.135 Issue Date 2014-08-17 Text Version publisher URL http://hdl.handle.net/11094/69762 DOI rights Note Osaka University Knowledge Archive : OUKA https://ir.library.osaka-u.ac.jp/ Osaka University 57 The Chinese Phonetic Transcriptions of Old Turkish Words in the Chinese Sources from 6th -9th Century Focused on the Original Word Transcribed as Tujue 突厥* Yukiyo KASAI 0. Introduction The Turkish tribes which originated from Mongolia contacted since time immemorial with their various neighbours. Amongst those neighbours China, one of the most influential countries in East Asia, took note of their activities for reasons of its national security on the border areas to the North of its territory. Especially after an political unit of Turkish tribes called Tujue 突厥 had emerged in the middle of the 6th c. as the first Turkish Kaganate in Mongolia and become threateningly powerful, the Chinese dynasties at that time followed the Turks’ every move with great interest. The first Turkish Kaganate broke down in the first half of the 7th c. and came under the rule of the Chinese Tang 唐–dynasty, but * I would like first to express my sincere thanks to Prof. Dr. DESMOND DURKIN-MEISTERERNST who gave me useful advice about the contents of this article and corrected my English, too. My gratitude also goes to Prof. TAKAO MORIYASU and Prof. -
TV Show Knows What's in Your Fridge Is Food for Thought
16 | Wednesday, June 17, 2020 HONG KONG EDITION | CHINA DAILY YOUTH ometimes you have to travel didn’t enjoy traditional Chinese to appreciate your own. music that much until he pursued his Sometimes, waking up in a music studies in the United States. foreign land gives you a pre- When leaving China, he took with Scious insight into your own country. him the hulusi, a kind of Chinese Fang Songping is a musician and wind instrument made from a has traveled but when he was at gourd, and played it recreationally home with his pipa-player father, in the college. The exotic sound of Fang Jinlong, he preferred Western the instrument won him lots of fans rock. and requests to perform on stage. It was hulusi, the gourd-like Then he started researching about instrument, that really changed his traditional Chinese music and com- life. He happened to bring it to Los bining elements of it into his own Angeles, while studying music there. compositions. In 2015, he returned His classmates were fascinated to China and started his career as an when he played music with it, and a indie musician. new horizon opened up before him. Now, Fang Songping works as the According to a recent report on music director of a popular reality traditional Chinese music, young show, Gems of Chinese Poetry, Chinese people are turning their which centers on traditional Chi- attention to traditional arts. More nese arts, such as poetry, music, and more are listening to traditional dance and paintings. He composed Chinese music. eight original instrumental pieces, The report was released on June inspired by traditional Chinese cul- 2, under the guidance of the China ture, like music, chess, calligraphy Association of Performing Arts, by and paintings. -
February 2019 a Winter Wonderland That Warms Your Spirit
CHINAINSIGHT Fostering business and cultural harmony between China and the U.S. VOL. 18 NO. 2 February 2019 A winter wonderland that warms your spirit . News, p. 4 Business & Economy, p. 5 Language, p. 7 The 35th Harbin International Ice and Snow Festival, the largest in the world, is celebrated during Harbin’s Sister Cities Conference. See pages 8-9. Books, p. 11 Community Minneapolis artist Paul Kwok exhibits at Chung Chi College in Hong Kong By Greg Hugh More than 100 guests recently attended Kwok currently lives in Minneapolis an exhibit of landscape paintings titled “In with his partner Pat Hui where they also and Out of Tradition” by Paul Ka Yin Kwok share a studio at Traffic Zone Center for Arts & Culture, p. 14 held at Chung Chi College of The Chinese Visual Art. The studio was the site of the University of Hong Kong from which Kwok recent group discussion of “Crazy Rich graduated in 1967. Asians” held by the Chinese Heritage Foundation. ♦ In This Issue Arts & Culture 12-14 Right: Books 10-11 Pat Hui Business & Economy 5 and Kwok in front of Community 8-9 one of his Events 15-16 paintings Government & Politics 6 Language 7 Officiating at the ribbon cutting ceremony was News 3-4 (far left Professor Fong Wing Ping, head of Pronouncements 2 college; and artist Kwok (second from left). Recent CHF discussion at studio. PAGE 2 / February 2019 pronouncements www.chinainsight.info Publisher’s Pronouncements CHINAINSIGHT Greetings and Gung Hay Fat Choy (Happy New Year): As we went to press with this issue of We also are pleased to announce that a team player. -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy sutxnitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indisünct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Leaming 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMÏ METAPHORS OF EXCHANGE AND THE SHANGHAI STOCK MARKET DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School o f The Ohio State University By Susan Diane Menke, M A ***** The Ohio State University 2000 Dissertation committee: Approved by: Dr. -
Risky Expertise in Chinese Financialisation Haigui Returnee Migrants in the Shanghai Financial Market
Risky Expertise in Chinese Financialisation Haigui Returnee Migrants in the Shanghai Financial Market. A thesis submitted in fulfillment of the requirements for the award for the degree Doctorate of Philosophy From Western Sydney University Giulia Dal Maso Institute for Culture and Society Western Sydney University 2016 Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. Sections of chapter 5 have been previsouly published in Dal Maso, Giulia. “The Financialisation Rush: Responding to Precarious Labor and Social Security by Investing in the Chinese Stock Market.” South Atlantic Quarterly 114, no. 1: 47-64. ............................................................................... (Signature) Acknowledgements I would like to thank my supervisors Professor Brett Neilson and Professor Ned Rossiter for their extraordinary intellectual support, encouragement and incredible patience. They have been invaluable interlocutors and the best supervisors I could hope for. My gratitude also goes to Professor Sandro Mezzadra for his intellectual generosity, guidance and for having encouraged me many times. It is thanks to him that my Chinese adventure started. Particular thanks go to Giorgio Casacchia. His support has been essential both for the time of my research fieldwork and for sustenance when writing. He has not -
Historical and Contemporary Development of the Chinese Zheng
Historical and Contemporary Development of the Chinese Zheng by Han Mei MA, The Music Research Institute of Chinese Arts Academy Beijing, People's Republic of China, 1995 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS OF THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 2000 ©HanMei 2000 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. The University of British Columbia Vancouver, Canada DE-6 (2/88) ABSTRACT The zheng is a plucked, half-tube Chinese zither with a history of over two and a half millennia. During this time, the zheng, as one of the principal Chinese instruments, was used in both ensemble and solo performances, playing an important role in Chinese music history. Throughout its history, the zheng underwent several major changes in terms of construction, performance practice, and musical style. Social changes, political policies, and Western musical influences also significantly affected the development of the instrument in the twentieth century; thus the zheng and its music have been brought to a new stage through forces of modernization and standardization. -
Video Competition 2020
VIDEO COMPETITION 2020 ABOUT: The United States International Music Competition is organized by the United States International Music Foundation affiliated with the Chinese Music Teachers’ Association of Northern California, a non-profit organization. This competition provides young musicians with an opportunity to exhibit their talents and reward their hard work, as well as to encourage them to appreciate cross-cultural exchanges . ELIGIBILITY: Contestants of all nationalities.No Age Limit. Past First Place winners may not compete in an age group that they have won previously. However, they may elect to compete in another age-appropriate group. INSTRUMENT CATEGORIES: Piano (Solo, Duet, and Concerto), Violin, Viola, Cello, Classical Chamber Ensembles (Western Instruments), Vocal (Solo and Ensemble), Marimba, and Traditional Chinese Instruments categories are held annually. Harp and Classical Guitar are also included in the 2020 competition categories. AGE GROUPS: Eligibility for each group will be determined by the contestant’s age as of June 1, 2020. Each instrument category has different age groups. Category & Piano Violin Viola Cello Vocal Age groups A Age 9 or under Age 9 or under Age 14 or under Age 11 or under Age 9 or under B Age 11 or under Age 13 or under Age 18 or under Age 14 or under Age 12 or under C Age 14 or under Age 18 or under Age 19 or above Age 18 or under Age 14 or under D Age 18 or under Age 19 or above Age 19 or above Age 18 or under E Age 19 or above Age 19 or above Piano Duet Category -
CELLO BRIDE Copyrighted ©2015
SYNOPSIS: Read the story when heartache becomes destiny. .A beautiful hot, sexy, and ravaging classic that tells the life of a young girl name Miya Xi. She is an enthusiast, and strict critic for all art through-out world, but also a best distant friend to young woman name Angela who continues to serve as Beijing's Queen Piyan's chosen toy concubine that she uses to please her husband sexual desires. Miya is a care-free woman who loves to tease men time to time, but her life toke a nervous twist the moment she meet Andrea Amati's traveling promoter for the cello. After her fail attempts of trying to get him to leave she soon discovers that there was more than just the sound of music between them. .A truly thought-provoking romance to take ones breath away as it continue Angel Broady CELLO BRIDE Copyrighted ©2015 BOOK 1 All rights reserved. This book or any portion thereof may not be reproduced or used in any manner without the express written permission of the publisher or author excluding the use of brief quotations in a book review. For more information or to contact the author, please visit www.roseangelbooks-arts.com. Cover design by Angel S. Broady. 1 Copyright©2015 all rights reserved of Title- Cello Bride, illustration to author Angel S. Broady, & Publisher: Rose Angel Books ISBN: 978 -1644672815 Follow her on Twitter: Shantes59279831 Visit author website: www. Roseangelbooks-arts.com 2 • Contents • Chapter One – Queen’s Chosen Toys……………………..pg.3 • Chapter Two – The Fallen Virgin…………………………....pg.18 • Chapter Three – Miya & The Interview……………………..pg.30 • Chapter Four – Should I stay or go?...................................pg.41 • Chapter Five – Fresh Start…………………………………...pg.50 • Chapter Six – A Concubine’s Lust…………………………..pg.62 • Chapter Seven - Beauty before the Beholder……………...pg. -
2015 Next Wave Festival DEC 2015
2015 Next Wave Festival DEC 2015 Shinique Smith, Abiding Light, 2015 Published by: Season Sponsor: #BAMNextWave #SteelHammer Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Executive Producer Steel Hammer BAM Harvey Theater Dec 2—5 at 7:30pm; Dec 6 at 3pm Running time: one hour & 55 minutes, no intermission Julia Wolfe and SITI Company Bang on a Can All-Stars Directed by Anne Bogart Music & lyrics by Julia Wolfe Original text by Kia Corthron, Will Power, Carl Hancock Rux, and Regina Taylor Music performed by Bang on a Can All-Stars Play performed & created by SITI Company Scenic & costume design by James Schuette Lighting by Brian H Scott Sound design by Andrew Cotton and Christian Frederickson Choreography by Barney O’Hanlon Season Sponsor: Steel Hammer premiered at Actors Theatre of Louisville in the 2014 Humana Festival of New American Plays In memory of Robert W. Wilson, with gratitude for his visionary and generous support of BAM STEEL HAMMER Akiko Aizawa Ashley Bathgate Eric Berryman Robert Black Patrice Johnson Vicky Chow David Cossin Emily Eagen Chevannes Katie Geissinger Gian-Murray Gianino Barney O’Hanlon Molly Quinn Mark Stewart Ken Thomson Stephen Duff Webber Steel Hammer CAST Akiko Aizawa* Eric Berryman* Patrice Johnson Chevannes* Gian-Murray Gianino* Barney O’Hanlon* Stephen Duff Webber* BANG ON A CAN ALL-STARS Ashley Bathgate cello Robert Black bass Vicky Chow piano David Cossin -
Full Curriculum Vitae
Chenxiao.Atlas.Guo [email protected] Updated Aug 2021 atlasguo @cartoguophy atlasguo.github.io CURRICULUM VITAE EDUCATION University of Wisconsin-Madison (UW-Madison) (Madison, WI, USA; 2022 Expected) • Ph.D. in Geography (Cartography/GIS), Department of Geography - Core Courses: Graphic Designs in Cartography, Interactive Cartography & Geovisualization; Advanced Quantitative Analysis, Advanced Geocomputing and Big Data Analytics, Geospatial Database, GIS Applications; Seminars in GIScience (VGI; Deep Learning; Storytelling); Natural Hazards and Disasters (audit) • Doctoral Minor in Computer Science, Department of Computer Science - Core Courses: Data Structure, Algorithms, Artificial Intelligence, Computer Graphics, Human-Computer Interaction, Machine Learning (audit) • Research Direction: Spatiotemporal Analytics, Cartographic Visualization, Social Media Data Mining, Natural Disaster Management (bridging geospatial data science, cartography, and social good) • Current GPA: 3.7/4.0 University of Georgia (UGA) (Athens, GA, USA; 2017) • M.S. in Geography (GIS), Department of Geography - Core Courses: Statistical Method in Geography, Geospatial Analysis, Community GIS, Programming for GIS, Seminars in GIScience, Geographic Research Method, Satellite Meteorology and Climatology, Seminar in Climatology, Urban Geography (audit), Psychology (audit) • Research Direction: Location-based Social Media, Sentiment Analysis, Urban Spatiality, Electoral Geography • GPA: 3.7/4.0 Sun Yat-Sen University (SYSU) (Guangzhou, China; 2015) • B.S. in Geographic -
UNIVERSITY of CALIFORNIA Los Angeles the Qin
UNIVERSITY OF CALIFORNIA Los Angeles The Qin and Literati Culture in Song China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Asian Languages and Cultures by Meimei Zhang 2019 © Copyright by Meimei Zhang 2019 ABSTRACT OF THE DISSERTATION The Qin and Literati Culture in Song China by Meimei Zhang Doctor of Philosophy in Asian Languages and Cultures University of California, Los Angeles, 2019 Professor David C Schaberg, Chair My dissertation examines the distinctive role that the qin played in Chinese literati culture in the Song dynasty (960-1279) through its representations in literary texts. As one of the earliest stringed musical instruments in China, the qin has occupied a unique status in Chinese cultural history. It has been played since ancient times, and has traditionally been favored by Chinese scholars and literati as an instrument of great subtlety and refinement. This dissertation focuses on the period of the Song because it was during this period that the literati developed as a class and started to indulge themselves in various cultural and artistic pursuits, and record their experiences in literary compositions as part of their self-fashioning. Among these cultural pursuits, the qin playing was an important one. Although there have been several academic works on the qin, most of them focus on the musical aspects of the instrument. My project aims to reorient the perspective on the qin by revealing its close relationship and interaction with the literati class from a series of ii historical and literary approaches. During the Song, the qin was mentioned in a multiplicity of literary texts, and associated with a plethora of renowned literary figures.