The Butterfly Lovers' Violin Concerto by Zhanhao He and Gang Chen By
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Kūnqǔ in Practice: a Case Study
KŪNQǓ IN PRACTICE: A CASE STUDY 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 THEATRE OCTOBER 2019 By Ju-Hua Wei Dissertation Committee: Elizabeth A. Wichmann-Walczak, Chairperson Lurana Donnels O’Malley Kirstin A. Pauka Cathryn H. Clayton Shana J. Brown Keywords: kunqu, kunju, opera, performance, text, music, creation, practice, Wei Liangfu © 2019, Ju-Hua Wei ii ACKNOWLEDGEMENTS I wish to express my gratitude to the individuals who helped me in completion of my dissertation and on my journey of exploring the world of theatre and music: Shén Fúqìng 沈福庆 (1933-2013), for being a thoughtful teacher and a father figure. He taught me the spirit of jīngjù and demonstrated the ultimate fine art of jīngjù music and singing. He was an inspiration to all of us who learned from him. And to his spouse, Zhāng Qìnglán 张庆兰, for her motherly love during my jīngjù research in Nánjīng 南京. Sūn Jiàn’ān 孙建安, for being a great mentor to me, bringing me along on all occasions, introducing me to the production team which initiated the project for my dissertation, attending the kūnqǔ performances in which he was involved, meeting his kūnqǔ expert friends, listening to his music lessons, and more; anything which he thought might benefit my understanding of all aspects of kūnqǔ. I am grateful for all his support and his profound knowledge of kūnqǔ music composition. Wichmann-Walczak, Elizabeth, for her years of endeavor producing jīngjù productions in the US. -
MSM WIND ENSEMBLE Eugene Migliaro Corporon, Conductor Joseph Mohan (DMA ’21), Piano
MSM WIND ENSEMBLE Eugene Migliaro Corporon, Conductor Joseph Mohan (DMA ’21), piano FRIDAY, JANUARY 18, 2019 | 7:30 PM NEIDORFF-KARPATI HALL FRIDAY, JANUARY 18, 2019 | 7:30 PM NEIDORFF-KARPATI HALL MSM WIND ENSEMBLE Eugene Migliaro Corporon, Conductor Joseph Mohan (DMA ’21), piano PROGRAM JOHN WILLIAMS For New York (b. 1932) (Trans. for band by Paul Lavender) FRANK TICHELI Acadiana (b. 1958) At the Dancehall Meditations on a Cajun Ballad To Lafayette IGOR ST R AVINSKY Concerto for Piano and Wind Instruments (1882–1971) Lento; Allegro Largo Allegro Joseph Mohan (DMA ’21), piano Intermission VITTORIO Symphony No. 3 for Band GIANNINI Allegro energico (1903–1966) Adagio Allegretto Allegro con brio CENTENNIAL NOTE Vittorio Giannini (1903–1966) was an Italian-American composer calls upon the band’s martial associations, with an who joined the Manhattan School of Music faculty in 1944, where he exuberant march somewhat reminiscent of similar taught theory and composition until 1965. Among his students were efforts by Sir William Walton. Along with the sunny John Corigliano, Nicolas Flagello, Ludmila Ulehla, Adolphus Hailstork, disposition and apparent straightforwardness of works Ursula Mamlok, Fredrick Kaufman, David Amram, and John Lewis. like the Second and Third Symphonies, the immediacy MSM founder Janet Daniels Schenck wrote in her memoir, Adventure and durability of their appeal is the result of considerable in Music (1960), that Giannini’s “great ability both as a composer and as subtlety in motivic and harmonic relationships and even a teacher cannot be overestimated. In addition to this, his remarkable in voice leading. personality has made him beloved by all.” In addition to his Symphony No. -
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. -
Singapore Chinese Orchestra Instrumentation Chart
Singapore Chinese Orchestra Instrumentation Chart 王⾠威 编辑 Version 1 Compiled by WANG Chenwei 2021-04-29 26-Musician Orchestra for SCO Composer Workshop 2022 [email protected] Recommendedabbreviations ofinstrumentnamesareshown DadiinF DadiinG DadiinA QudiinBb QudiinC QudiinD QudiinEb QudiinE BangdiinF BangdiinG BangdiinA XiaodiinBb XiaodiinC XiaodiinD insquarebrackets ˙ ˙ ˙ #˙ ˙ ˙ #˙ ˙ ˙ 2Di ‹ ˙ ˙ ˙ ˙ #˙ [Di] ° & ˙ (Transverseflute) & ˙ ˙ ˙ ˙ ¢ ˙ ˙ ˙ ˙ b˙ ˙ ˙ ˙ s˙ounds 8va -DiplayerscandoubleontheXiaoinForG(samerangeasDadiinForG) -ThischartnotatesmiddleCasC4,oneoctavehigherasC5etc. #w -WhileearlycompositionsmightdesignateeachplayerasBangdi,QudiorDadi, -8va=octavehigher,8vb=octavelower,15ma=2octaveshigher 1Gaoyin-Sheng composersareactuallyfreetochangeDiduringthepiece. -PleaseusethetrebleclefforZhonghupartscores [GYSh] ° -Composerscouldwriteonestaffperplayer,e.g.Di1,Di2andspecifywhentousewhichtypeofDi; -Pleaseusethe8vbtrebleclefforZhongyin-Sheng, (Sopranomouthorgan) & ifthekeyofDiislefttotheplayers'discretion,specifyatleastwhetherthepitchshould Zhongyin-GuanandZhongruanpartscores w soundasnotatedor8va. w -Composerscanrequestforamembranelesssound(withoutdimo). 1Zhongyin-Sheng -WhiletheDadiandQudicanplayanother3semitonesabovethestatedrange, [ZYSh] theycanonlybeplayedforcefullyandthetimbreispoor. -ForeachkeyofDi,thesemitoneabovethelowestpitch(e.g.Eb4ontheDadiinG)sounds (Altomouthorgan) & w verymuffledduetothehalf-holefingeringandisunsuitableforloudplaying. 低⼋度发⾳ ‹ -Allinstrumentsdonotusetransposednotationotherthantranspositionsattheoctave. -
WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al. -
Warriors As the Feminised Other
Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. -
Senior Orchestra Pete Nowlen, Interim Director
december 20 2:30 pm PST PREMIER CYS.ORG program Jule Styne and Sammy Cahn ................................................................................. Let it Snow INTRODUCTORY WIND ENSEMBLE ROSITA AMADOR, DIRECTOR Leroy Anderson ......................................................................................................... Sleigh Ride WIND ENSEMBLE ROSITA AMADOR, DIRECTOR Modest Mussorgsky ................................................Hopak from “The Fair at Sorochinsk” JUNIOR STRINGS ENSEMBLE KATI KYME, DIRECTOR Antonín Dvořák ................................................................. Finale from “American” Quartet INTERMEDIATE STRINGS ENSEMBLE KATI KYME, DIRECTOR Joe Hisaishi/Arr. Yo Goto .................................... Studio Ghibli’s “Anime March Medley” My Neighbor Totoro | Laputa: Castle in the Sky | Nausicaä of the Valley of the Wind WIND SYMPHONY PETE NOWLEN, DIRECTOR La Réjouissance (The Joy) from George Frideric Handel ....................................................“Music for the Royal Fireworks” WIND SYMPHONY • ASSOCIATE ORCHESTRA PETE NOWLEN, DIRECTOR Yoko Shimamura/Arr. Ralph Ford ................Kingdom Hearts from “Video Games Live” ASSOCIATE ORCHESTRA PETE NOWLEN, INTERIM DIRECTOR Alan Silvestri ............................................................................Suite from Back to the Future SENIOR ORCHESTRA PETE NOWLEN, INTERIM DIRECTOR John Williams ........................ “Merry Christmas, Merry Christmas” from Home Alone MUSIC IN THE MOUNTAINS CHORUS RYAN MURRAY, DIRECTOR SENIOR -
Written & Directed by and Starring Stephen Chow
CJ7 Written & Directed by and Starring Stephen Chow East Coast Publicity West Coast Publicity Distributor IHOP Public Relations Block Korenbrot PR Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Judy Chang Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 212-247-2948 fax 323-634-7030 fax 212-833-8844 fax 1 Short Synopsis: From Stephen Chow, the director and star of Kung Fu Hustle, comes CJ7, a new comedy featuring Chow’s trademark slapstick antics. Ti (Stephen Chow) is a poor father who works all day, everyday at a construction site to make sure his son Dicky Chow (Xu Jian) can attend an elite private school. Despite his father’s good intentions to give his son the opportunities he never had, Dicky, with his dirty and tattered clothes and none of the “cool” toys stands out from his schoolmates like a sore thumb. Ti can’t afford to buy Dicky any expensive toys and goes to the best place he knows to get new stuff for Dicky – the junk yard! While out “shopping” for a new toy for his son, Ti finds a mysterious orb and brings it home for Dicky to play with. To his surprise and disbelief, the orb reveals itself to Dicky as a bizarre “pet” with extraordinary powers. Armed with his “CJ7” Dicky seizes this chance to overcome his poor background and shabby clothes and impress his fellow schoolmates for the first time in his life. -
Season 2017-2018
23 Season 2017-2018 Wednesday, November 1, at 7:30 China’s National Centre for the Performing Arts Orchestra Lü Jia Conductor Ning Feng Violin Gautier Capuçon Cello Zhao Jiping Violin Concerto No. 1 (in one movement) Chen Qigang Reflection of a Vanished Time, for cello and orchestra United States premiere Intermission Brahms Symphony No. 4 in E minor, Op. 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso—Poco meno presto—Tempo I IV. Allegro energico e passionato—Più allegro This program runs approximately 1 hour, 50 minutes. China’s National Centre for the Performing Arts Orchestra’s 2017 US Tour is proudly supported by China National Arts Fund. International Flight Sponsor: Hainan Airlines Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 24 Conductor Lü Jia is artistic director of music of the National Centre for the Performing Arts (NCPA) in Beijing, China, as well as music director and chief conductor of the NCPA Orchestra. He is also music director and chief conductor of the Macao Orchestra. He has served as music director of Verona Opera in Italy and artistic director of the Tenerife Symphony in Spain. Born into a musical family in Shanghai, he began studying piano and cello at a very young age. He later studied conducting at the Central Conservatory of Music in Beijing, under the tutelage of Zheng Xiaoying. At the age of 24 Mr. Lü entered the University of Arts in Berlin, where he continued his studies under Hans- Martin Rabenstein and Robert Wolf. -
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. -
Butterfly Lovers V1.0
Butterfly Lovers v1.0 Butterfly Lovers: Leung Shanpak and Chuk Yingtoi 梁祝恨史 An English Translation of Fong Yim Fun’s Performance Script 芳艷芬演出本 1955 Scripted by PAN Yi Fan 潘一帆編劇 * This Translation (Version 1.0) by NG Wing Chung 伍榮仲 (History, University of Texas at San Antonio) © 2012 * Major Plays of Hong Kong Cantonese Opera: A Translation Project 香港粵劇經典劇目翻譯計劃 Kwan Fong Cultural Research and Development Programme Lingnan University 群芳文化研究及發展部 嶺南大學 Funded by the Cantonese Opera Development Fund 粵劇發展基金資助 1 Butterfly Lovers v1.0 Butterfly Lovers: Leung Shanpak and Chuk Yingtoi An English Translation of Fong Yim Fun’s Performance Script 1955 Scripted by PAN Yi Fan This Translation (Version 1.0) by NG Wing Chung This work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License. You are free: to Share — to copy, distribute and transmit the work to Remix — to adapt the work Under the following conditions: Attribution — You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). Noncommercial — You may not use this work for commercial purposes. This work is also released under this special condition: You may make commercial use of the work only in the circumstance of adapting the work for use as English surtitles/supertitles in Cantonese opera performances. http://creativecommons.org/licenses/by-nc/3.0/ http://creativecommons.org/licenses/by-nc-sa/3.0/hk/legalcode 2 Butterfly Lovers v1.0 Butterfly Lovers: Leung Shanpak -
1 "Chinese in Content and Socialist in Form: Chinese Ballet and The
Emily E. Wilcox Talk – Nov 1 UC Berkeley Symposium: “The Butterfly Lovers, the Cultural Revolution and the Arts in China” "Chinese in Content and Socialist in Form: Chinese Ballet and the Cultural Revolution's Reversal of a National Culture Movement" In Professor Chen’s talk, we learned of China’s century-long love affair with ballet. Like many European classical art forms that entered the Chinese cultural sphere in the early 20th century, ballet found admirers in China during the nineteen-teens and twenties, especially among the urban elites and foreign-educated artists and intellectuals. Also, through the work of Dai Ailian, ballet was used in the 1950 dance drama Doves of Peace. It was under the Cultural Revolution launched in 1966 that ballet first gained mass popularization in China, the impact of which can be seen in the form’s lasting appeal in the post-Mao era. In the restaging of red classics and the emergence of new ballet works like The Butterfly Lovers, ballet persists as a central component of dance creation and performance in China, through regional ballet companies such as the Shanghai Ballet, Central Ballet of China, Liaoning Ballet Company, and Guangzhou Ballet. Although domesticated through adaptation to Chinese stories, sets, costumes, and music, ballet remains viewed largely as a foreign art in China. The recognized arbiter of ballet technique remains located in the West, as demonstrated by frequent invitations of European and American teachers and choreographers to China’s top dance schools and ballet companies. Indeed, the patina of Western sophistication and eliteness remains a significant appeal, for audiences as well as for amateur dancers and hobbyists.