10Th Anniversary, College of Music, Mahasarakham University, Thailand

Total Page:16

File Type:pdf, Size:1020Kb

10Th Anniversary, College of Music, Mahasarakham University, Thailand Mahasarakham University International Seminar on Music and the Performing Arts 1 Message from the Dean of College of Music, Mahasarakham University College of Music was originally a division of the Faculty of Fine and Applied Arts that offers a Bachelor of Arts program in Musical Art under the the operation of Western Music, Thai Classical music and Folk Music. The college officially established on September 28, 2007 under the name “College of Music” offering an undergraduate program in musical art as well as master’s and doctoral degree programs. At this 10th anniversary, the College is a host for events such as the international conference and also music and dance workshop from countries who participate and join us. I wish this anniversary cerebration will be useful for scholars from many countries and also students from the colleges and universities in Thailand. I thank everyone who are in charge of this event. Thank you everyone for joining us to cerebrate, support and also enhance our academic knowledge to be shown and shared to everyone. Thank you very much. Best regards, (Khomkrich Karin, Ph.D.) Dean, College of Music Mahasarakham University 10th Anniversary, College of Music, Mahasarakham University, Thailand. 2 November 28 – December 1, 2018 Message from the Director of Kalasin College of Dramatic Arts For the importance of the Tenth Anniversary of the College of Music, Masarakham University. the Kalasin College of Dramatic Arts, Bunditpatanasilpa Institute, feels highly honored to co-host this event This international conference-festival would allow teachers, students and researchers to present and publicize their academic papers in music and dance. The arts and cultures are important to our nation as these bring benefit to everyone from the participation of international countries as well as from our country, as a form of musical exchange and knowledge. I believe that this event will be a good direction to develop the direction of education, the arts and cultures, and foster co-operation in the future especially, for both our institutes’ students. I am confident that this international conference-festival will achieve its objectives with the dedication of everyone. At the same time, I wish that our many friends from every country will have a pleasant stay in Thailand. (Jamrern Kaewpengkro, Ph.D.) Director of Kalasin College of Dramatic Arts with the joint cooperation of Kalasin College of Dramatic Arts Mahasarakham University International Seminar on Music and the Performing Arts 3 Welcoming Address Good Morning. Ladies, Gentlemen, Scholars and Artists from China, India, Indonesia, Kalasin College of Dramatic Arts, and all Conference Participants. It is indeed a great pleasure for me, as one of the host, to welcome all of you to the Mahasarakham University International Conference on Music and Performing Arts to commemorate the Tenth Anniversary of the Foundation of Mahasarakham University College of Music. In the globalized era, our world becomes smaller, and the powerful technologies affect all lives and nature; therefore all of us need co- operation, working together as closely as possible. It is our great opportunity for us today to be here to participate our international conference on music and performing arts. Music and all branches of arts, including performing arts, are necessary for our lives; food are good for bodies, arts are good for our souls. With food and arts human can have a sound mind and sound body. I am confident that this international conferene provides an excellent opportunity to share many different discussions. Today we will learn and share our knowledge and experiences on our music and performing arts, as well as fostering our friendship among individuals and among our countries. Please share and enjoy yourselves in this memorable international conference. I would like to extend my heartiest welcoming to our distinguished guests and paper presenters from mnay parts of the world. I do hope this conference would be successful for everyone. Thank you. November 28, 2018 Asst. Prof. Dr. Jarernchai Chonpairot Specialist: College of Music, Mahasarakham University, Thailand 10th Anniversary, College of Music, Mahasarakham University, Thailand. 4 November 28 – December 1, 2018 SEMINAR SCHEDULE Thursday, November 29, 2018 9:00 – 10:00 OPENING CEREMONIES Opening Remarks : Asst. Prof. Dr. Komkrich Karin, Dean Welcome Speech : Prof. Dr. Sampan Rittidech, MSU President Speech : Dr. Lu Xiaoqin (China, Guangxi University for Nationalities) Speech : Dr. Arsenio Nicolas (Thailand, MSU College of Music) 10:00 – 10:30 BREAK R O O M 1 SESSION 1 Moderator : Arsenio Nicolas 10:30 – 10:45 Jarernchai Chonpairot (Thailand) (1) Klon Lam Poetic Texts for Lam Singing: Classification and Formal Structure 10:45 – 11:00 Jina Rajkumari (India) (2) The Spring Festival of Assam Rongali Bihu and other groups in Assam 11:00 – 11:15 E-en Herdiani (Indonesia) (3) History of Performing Arts in Indonesia from the Pre-Historic Time until the Influence of Islam 11:15 – 11:30 Zhang Chao (China) (4) Digitization of music teaching in colleges and universities 11:30 – 11:45 Lu Xiaoqin (China) (5) TayLun NungSi : The Categories of Folksong and Ethnic Boundaries along the China-Vietnam Border 11:45 – 12:00 Komkrich Karin (Thailand) (6) Mor-Lam Aus-Sa-Jan 12:00 – 13:00 LUNCH BREAK with the joint cooperation of Kalasin College of Dramatic Arts Mahasarakham University International Seminar on Music and the Performing Arts 5 SESSION 2 Moderator : Komrich Karin 13:00 – 13:15 Awirut Thotham (Thailand) (7) Criteria for Developing Soraphan Chanting Competition in Northeastern Thailand 13:15 – 13:30 Ismet Ruchimat (Indonesia) (8) Angklung :The Second Effort of Indonesian Culture Diplomacy 13:30 – 13:45 Siriwan Jansawang (Thailand) (9) Nang Nokkrayangkhow 13:45 – 14:00 Du Hao (China) (10) Performance Practices of Music Works between Chinese and Thai students 14:00 –14:15 Wu-Ninghua, Wang Wei (China) (11) State Power and Reconstruction of Folk Songs of Zhuang Nationality 14:15 –14:30 Narongruch Woramitmaitree (12) The Song MahaSarakham Nam Lue 14:30 – 14:45 BREAK SESSION 3 Moderator : Joe Peters 14:45 – 15:00 Yang Shengxing (China) (13) Structure of the “alternate work songs” in Southwestern Hubei 15:00 – 15:15 Mustika Iman Zakaria.S (Indonesia) (14) The Form and Structure of the main repertoire of the Gamelan Monggang Cigugur, Kuningan 15:15 – 15:30 Jiang Xu (China) (15) Relationship between Guqin and Chinese Traditional Culture 15:30 – 15:45 Gao Fu Rong (China) (16) Popularization and Development of Guzheng 15:45 – 16:00 Chumchon Pong Suebwong (Thailand) (17) A Guide to Saxophone Improvisation on Isan Music 16:00 – 16:15 Ge Chon Chang (China) (18) Chinese students' experience in learning Thai classical music 10th Anniversary, College of Music, Mahasarakham University, Thailand. 6 November 28 – December 1, 2018 R O O M 2 SESSION 4 Moderator : Awirut Thotham 10:30 – 10:45 Arthur S. Nalan (Indonesia) (19) Vernacularizing Wayang 10:45 – 11:00 Yothin Polkate (Thailand) (20) The Characteristics of the Pong Lang Ensemble in Roi-Et Province 11:00 – 11:15 Piyanan Naw Kamdee (Thailand) (21) Khaen Accompaniment for Lam Phaya 11:15 – 11:30 Idsaree Chaipaew (Thailand) (22) The Creative Melody in Seven Scales of Pleng-Khaek Boradhed for Saw-Duang 11:30 – 11:45 Chang Yanxi (China) (23) The importance of Pitch Pipe training in vocal music teaching 11:45 – 12:00 Asep Nugraha (Indonesia) (24) Kacapi Indung on Cianjuran Music 12:00 – 13:00 LUNCH BREAK SESSION 5 Moderator : Jarernchai Chonpairot 13:00 – 13:15 Ruangchai Naklang and Kittiya Tatisa (Thailand) (25) Fon Ya-Khu Puramee 13:15 – 13:30 Yu Yao (China) (26) Employing Bow Technique and Research Development of Erhu 13:30 – 13:45 Wang Fang Ying (China) (27) How to teach the Chinese Musical Instrument Pipa 13:45 – 14:00 Zhang Jian (China) (28) Diversified Development of Chinese Flute Music in the 2nd Half 20th c 14:00 – 14:15 Liu Meng (China) (29) Comparing the erhu music of Liu Tianhua and A Bing 14:15 – 14:30 Xia Yu (China) (30) A piano composition based on the Chinese opera Flower-Drum 14:30 – 14:45 BREAK with the joint cooperation of Kalasin College of Dramatic Arts Mahasarakham University International Seminar on Music and the Performing Arts 7 SESSION 6 Moderator : Lu Xiaoqin 14:45 – 15:00 Tawanchai Soanmonta (Thailand) (31) Ratwinit Bangkaeo Wind Symphony 15:00 – 15:15 Liu Meng Hua (China) (32) Training Mode of Singing Talents in Universities in Guangxi 15:15 – 15:30 Meng Yun (China) (33) A Study of the teaching reform of erhu in colleges and universities 15:30 – 15:45 Liu Yanchang (China) (34) String Instrument Training in the Chinese National Orchestra 15:45 – 16:00 Ni Xu (China) (35) Guangxi Zhuang Liao songs and multiple music cultures 16:00 – 16:15 Sun Jian (China) (36) The Music Style of Liangshan Yi Folk Songs 10th Anniversary, College of Music, Mahasarakham University, Thailand. 8 November 28 – December 1, 2018 R O O M 3 SESSION 7 Moderator : Sayam Chuangprakhon 10:30: - 10:45 Yong-Shik Lee (Korea) (47) Intangible Cultural Heritage System and Shaman Ritual in Korea 10:45 – 11:00 JittapimYamprai (USA) (48) Educational Challenges: Teaching Music in America and Revisiting Music Education in Thailand 11:00 – 11:15 Randy Raine-Reusch (Canada) (49) Rice Paddy to Rock Concerts 12:00 – 13:00 LUNCH BREAK SESSION 8 Moderator : Zhang Chao 13:00 – 13:15 Honglei Chen (China) (37) Stage performance of the ballet “Red Women Army” 13:15 – 13:30 Sheng Wei (China) (38) Guangxi music in the life cycle of singing
Recommended publications
  • LBB 0048 2 1255-1294.Pdf
    ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Linzer biologische Beiträge Jahr/Year: 2016 Band/Volume: 0048_2 Autor(en)/Author(s): Jaeger Bernd, Kataev Boris M., Wrase David W. Artikel/Article: New synonyms, and first and interesting records of certain species of the subtribe Stenolophina from the Palaearctic, Oriental and Afrotropical regions (Coleoptera, Carabidae, Harpalini, Stenolophina) 1255-1294 download www.zobodat.at Linzer biol. Beitr. 48/2 1255-1294 19.12.2016 New synonyms, and first and interesting records of certain species of the subtribe Stenolophina from the Palaearctic, Oriental and Afrotropical regions (Coleoptera, Carabidae, Harpalini, Stenolophina) Bernd JAEGER, Boris M. KATAEV & David W. WRASE Abstract: Anthracus descarpentriesi JEANNEL, 1948 is considered a junior synonym of Anthracus angusticollis (PÉRINGUEY, 1908), Dicheirotrichus punicus aegyptiacus SCHATZMAYR, 1936 is treated as a junior synonym of Dicheirotrichus (Pelagophilus) punicus BEDEL, 1899, and Stenolophus narentinus J. MÜLLER, 1916 [previously the authorship of Stenolophus narentinus was erroneously attributed to DROVENIK & PEKS (1999)] is considered a junior synonym of Stenolophus (Stenolophus) proximus DEJEAN, 1829. For Psychristus (Psychristus) dentatus JAEGER, 2009 male characters are described and figured for the first time. First or additional distribution data are provided for: Acupalpus (Acupalpus) exiguus DEJEAN, 1929: first record for the Turkish province of Kars. Acupalpus (Acupalpus) flavicollis (STURM, 1825): first record for Albania. Acupalpus (Acupalpus) laferi KATAEV & JAEGER, 1997: first records for the Chinese provinces of Gansu and Heilongjiang. Acupalpus (Acupalpus) maculatus (SCHAUM, 1960): first record for Tadzhikistan. Acupalpus (Acupalpus) planicollis (SCHAUM, 1857): first detailed record for Italy, Triest, additional records for Greece.
    [Show full text]
  • Drum Free Score
    Drum free score click here to download I have included a list of some of the best free drum sheet music websites that have hundreds, if not thousands of drum tabs and sheet music out there. Some of. Virtual Drumming is a hub for free drum sheet music where you can play and learn through pdf sheets about virtual percussion. On www.doorway.ru you will. If you are looking for free drum sheet music, then you're in the right place! There are . Episode #4: All The Small Things By Blink Drum Score (Request 4). Free scores for drums, percussion. Partituras gratuitas para tambores, tam-tam, djumbe, congas. Looking for free drum transcriptions from all your favourite bands? Then look no further. Our databse of professionally produced drum charts will give you plenty. Drums free sheet music library and directory! Thousands of free sheet music downloads, music lessons, musician tips, and musical articles. Free Free Drums Sheet Music sheet music pieces to download from www.doorway.ru Collection of sheet music for drum kit (pdf format). Free Drum Sheet Music at www.doorway.ru drum music titles updated daily, largest online drum tab collection. Does anyone know any good websites with free drum sheet music? Keep in mind, Im looking for FREE, not one of those websites, where you. www.doorway.ru is the #1 source for free marching percussion sheet music, lessons and recordings! The best place to find Drum Sheet Music – Sheet Music - Drum Scores - Drum Tab, Drum Music Transcription | Search Drum Scores, Free Drum Tabs, Free.
    [Show full text]
  • Flower Drum Song Little Theatre on the Square
    Eastern Illinois University The Keep 1961 Shows Programs 1961 Summer 8-22-1961 Flower Drum Song Little Theatre on the Square Follow this and additional works at: http://thekeep.eiu.edu/little_theatre_1961_programs Part of the Theatre History Commons Recommended Citation Little Theatre on the Square, "Flower Drum Song" (1961). 1961 Shows Programs. 1. http://thekeep.eiu.edu/little_theatre_1961_programs/1 This Book is brought to you for free and open access by the 1961 at The Keep. It has been accepted for inclusion in 1961 Shows Programs by an authorized administrator of The Keep. For more information, please contact [email protected]. "Central Illinois' Only Professional Equity Music Theatre" Fifth Season .h July 7th Through August 27th, 1961 Air-conditioned Grand Theatre * On the Square * Sullivan ? Guy S. Llttle, Jt. Ptassnts ! '4 RODGERS & HAMMERSTEIN'S 1 "FLOWER DRUM SONG' I August 22nd through August 27th, 1961 Who's Who in the Cast . SYLVIA COPELAND (Linda Low) re- RUSTY DORE (Sammy Fong) has been a creates the vital fun-loving Linda for the third popular performer on Broadway, TV, records, time, havinf peiformed this role previous1 at sup er clobs and summer stock. Rusty appeared the South hore Music Theatre and the dan- on sroadway with Mae West in her production nis Melody Tent in Massachusetts. Miss Cope- of DIAMOND LIL and toured the country aa land is. a versatile performer displaying talent the bookie in BELLS ARE RINGING.. We was . as a slnger. actress and pianist. Her many recently seen off-Broadway as Jake in THE cabaret and hotel singing- en agements have THREEPENNY OPERA at the Theatre DeLys taken her from Boston to ~razi?,with stops at and as the student in the Yiddish Art Theatre's Miami Beach.
    [Show full text]
  • Literate Shamanism: the Priests Called Then Among the Tày in Guangxi and Northern Vietnam
    religions Article Literate Shamanism: The Priests Called Then among the Tày in Guangxi and Northern Vietnam David Holm Department of Ethnology, National Chengchi University, 64 Zhinan Road Section 2, Wenshan District, Taipei 11605, Taiwan; [email protected] Received: 30 November 2018; Accepted: 9 January 2019; Published: 18 January 2019 Abstract: Then is the designation in Vietnamese and Tày given to shamanic practitioners of the Tày ethnicity, who reside mainly in the northern provinces of Vietnam. Scholars are long aware that the predominantly female spirit mediums among the Zhuang in Guangxi, variously called mehmoed or mehgimq, had a ritual repertoire which included shamanic journeys up to the sky as their essential element. The ritual songs of the mehmoed are orally transmitted, unlike the rituals of male religious practitioners in Guangxi such as Taoist priests, Ritual Masters, and mogong, all of which are text-based. One was led rather easily to posit a dichotomy in which male performers had texts, and female performers had repertoires which were orally transmitted. This division also seemed to hold true for certain seasonal song genres, at least in Guangxi. For that matter, shamanic traditions cross-culturally are seen as predominantly or exclusively oral traditions. Recent research among the Tày-speaking communities in northern Vietnam has confounded this tidy picture. Religious practitioners among the Tày include the Put, who in many cases have texts which incorporate segments of shamanic sky journeys and may be either male or female; and the Then, also both male and female, who have extensive repertoires of shamanic rituals which are performed and transmitted textually.
    [Show full text]
  • University of California Santa Cruz the Vietnamese Đàn
    UNIVERSITY OF CALIFORNIA SANTA CRUZ THE VIETNAMESE ĐÀN BẦU: A CULTURAL HISTORY OF AN INSTRUMENT IN DIASPORA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by LISA BEEBE June 2017 The dissertation of Lisa Beebe is approved: _________________________________________________ Professor Tanya Merchant, Chair _________________________________________________ Professor Dard Neuman _________________________________________________ Jason Gibbs, PhD _____________________________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of Figures .............................................................................................................................................. v Chapter One. Introduction ..................................................................................................................... 1 Geography: Vietnam ............................................................................................................................. 6 Historical and Political Context .................................................................................................... 10 Literature Review .............................................................................................................................. 17 Vietnamese Scholarship .............................................................................................................. 17 English Language Literature on Vietnamese Music
    [Show full text]
  • Westernisation, Ideology and National Identity in 20Th-Century Chinese Music
    Westernisation, Ideology and National Identity in 20th-Century Chinese Music Yiwen Ouyang PhD Thesis Royal Holloway, University of London DECLARATION OF AUTHORSHIP I, Yiwen Ouyang, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19 May 2012 I To my newly born baby II ABSTRACT The twentieth century saw the spread of Western art music across the world as Western ideology and values acquired increasing dominance in the global order. How did this process occur in China, what complexities does it display and what are its distinctive features? This thesis aims to provide a detailed and coherent understanding of the Westernisation of Chinese music in the 20th century, focusing on the ever-changing relationship between music and social ideology and the rise and evolution of national identity as expressed in music. This thesis views these issues through three crucial stages: the early period of the 20th century which witnessed the transition of Chinese society from an empire to a republic and included China’s early modernisation; the era from the 1930s to 1940s comprising the Japanese intrusion and the rising of the Communist power; and the decades of economic and social reform from 1978 onwards. The thesis intertwines the concrete analysis of particular pieces of music with social context and demonstrates previously overlooked relationships between these stages. It also seeks to illustrate in the context of the appropriation of Western art music how certain concepts acquired new meanings in their translation from the European to the Chinese context, for example modernity, Marxism, colonialism, nationalism, tradition, liberalism, and so on.
    [Show full text]
  • The Last of the Thai Traditional Music Teachers
    Uncle Samruay — the Last of the Thai Traditional Music Teachers The SPAFA crew visited the Premjai House of Music to explore its hospital-based concept of a school/repair centre, where Patsri Tippayaprapai interviewed the 69-year-old renowned master musician Samruay Premjai. The people of Thailand have been making indigenous musical instruments since ancient times, during which they also adapted instruments of other countries to create what are now regarded as Thai musical instruments. Through contact with Indian culture, the early Thai kingdoms assimilated and incorporated Indian musical traditions in their musical practices, using instruments such as the phin, sang, pi chanai, krachap pi, chakhe, and thon, which were referred to in the Master Samruay Premjai Tribhumikatha, an ancient book in the Thai language; they were also mentioned on a stone inscription (dated to the time of King Ramkhamhaeng, Sukhothai period). During the Ayutthaya period, the Thai instrumental ensemble consisted of between four and eight musicians, when songs known as 'Phleng Rua' were long and performed with refined skills. The instrumental ensemble later expanded to a composition of twelve musicians, and music became an indispensable part of theatre and other diverse occasions such as marriages, funerals, festivals, etc.. There Illustration ofSukhotai period ensemble of musicians are today approximately fifty kinds of Thai musical instruments, including xylophones, chimes, flutes, gongs, stringed instruments, and others. SPAFA Journal Vol. 16 No. 3 19 Traditionally, Thai musicians were trained by their teachers through constant practising before their trainers. Memory, diligence and perseverance were essential in mastering the art. Today, however, that tradition is gradually being phased out.
    [Show full text]
  • Music Concentration Requirements Writing in the Student’S Concentration File in ASK
    Music 1 ● One upper-level course in musicology or ethnomusicology Music ● Any three upper-level courses, including graduate-level courses Additional Electives (according to student interest) Four additional elective courses, may include: Chair ● Up to four half-credit courses in performance - AMP music instruction Emily I. Dolan and/or Ensemble Participation (2 credits) ● Up to two courses outside of the department The study of music—a phenomenon known to all people in all ages— ● One music course below the 1000 level lies naturally at the heart of a liberal education. The Department of Music at Brown provides an ideal environment for such an education, with its Senior Project integrated faculty of scholars, performers, composers, and theorists. All music concentrators will choose a culminating experience for their The curriculum of the Department of Music combines studies in history, senior year, either a capstone project or honors project. This may take theory, ethnomusicology, and musicianship with courses in composition, the form of a performance, scholarly study, or original creative work. All technology, and performance. Application merges with analysis, creation students will have a primary advisor for their Senior Project. The work may with cultural study, and multimedia experiments with broad meditations on be done independently of a course for credit, as an independent study, or sound, in a unique department that welcomes all. within the framework of an existing course. For additional information, please visit the department's website: https:// Additional Notes www.brown.edu/academics/music/ All concentration substitutions and/or exceptions must be approved by the concentration advisor in consultation with the Director of Undergraduate Studies.
    [Show full text]
  • A History of Siamese Music Reconstructed from Western Documents 1505-1932
    A HISTORY OF SIAMESE MUSIC RECONSTRUCTED FROM WESTERN DOCUMENTS 1505-1932 This content downloaded from 96.9.90.37 on Thu, 04 Feb 2021 07:36:11 UTC All use subject to https://about.jstor.org/terms Introduction The writing of music history, the chief activity of the musicologist, depends almost entirely on the existence of written documents. Historical studies of various musics of the world have appeared wherever there are such documents: Europe, China, Japan, Korea, India, and in the Islamic cultural area of Western Asia and North Africa. Mainland Southeast Asia, however, has remained much of a musico-historical void since little has remained besides oral traditions and a few stone carvings, although Vietnamese music is an exception to this statement. The fact that these countries have so few trained musicologists also contributes to the lack of research. In the case of the Kingdom of Thailand, known before 1932 as Siam, little has been attempted in the way of music history in languages other than Thai, and those in Thai, also not plentiful, remain unknown to the outside world.l Only the European-trained Prince Damrong has attempted a comprehensive history, but it is based as much on tradition and conjecture as on concrete evidence and is besides quite brief. David Morton's classic study of Thai traditional music, The Traditional Music of Thailand, includes some eighteen pages of history, mostly based on oral traditions, conjecture, circumstantial evidence from neighboring musical cultures (Cambodia, China, and India), and some from the same documents used in this study. At least three reasons can be given for the lack of historical materials originating in Thailand.
    [Show full text]
  • The Lao in Sydney
    Sydney Journal 2(2) June 2010 ISSN 1835-0151 http://epress.lib.uts.edu.au/ojs/index.php/sydney_journal/index The Lao in Sydney Ashley Carruthers Phouvanh Meuansanith The Lao community of Sydney is small and close-knit, and concentrated in the outer southwest of the city. Lao refugees started to come to Australia following the takeover by the communist Pathet Lao in 1975, an event that caused some 10 per cent of the population to flee the country. The majority of the refugees fled across the Mekong River into Thailand, where they suffered difficult conditions in refugee camps, sometimes for years, before being resettled in Australia. Lao Australians have managed to rebuild a strong sense of community in western Sydney, and have succeeded in establishing two major Theravada Buddhist temples that are foci of community life. Lao settlement in south-western Sydney There are some 5,551 people of Lao ancestry resident in Sydney according to the 2006 census, just over half of the Lao in Australia (10,769 by the 2006 census). The largest community is in the Fairfield local government area (1,984), followed by Liverpool (1,486) and Campbelltown (1,053). Like the Vietnamese, Lao refugees were initially settled in migrant hostels in the Fairfield area, and many stayed and bought houses in this part of Sydney. Fairfield and its surrounding suburbs offered affordable housing and proximity to western Sydney's manufacturing sector, where many Lao arrivals found their first jobs and worked until retirement. Cabramatta and Fairfield also offer Lao people resources such as Lao grocery stores and restaurants, and the temple in Edensor Park is nearby.
    [Show full text]
  • The Preludes in Chinese Style
    The Preludes in Chinese Style: Three Selected Piano Preludes from Ding Shan-de, Chen Ming-zhi and Zhang Shuai to Exemplify the Varieties of Chinese Piano Preludes D.M.A. DOCUMENT Presented in Partial Fulfilment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Jingbei Li, D.M.A. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Steven M. Glaser, Advisor Dr. Arved Ashby Dr. Edward Bak Copyrighted by Jingbei Li, D.M.A 2019 ABSTRACT The piano was first introduced to China in the early part of the twentieth century. Perhaps as a result of this short history, European-derived styles and techniques influenced Chinese composers in developing their own compositional styles for the piano by combining European compositional forms and techniques with Chinese materials and approaches. In this document, my focus is on Chinese piano preludes and their development. Having performed the complete Debussy Preludes Book II on my final doctoral recital, I became interested in comprehensively exploring the genre for it has been utilized by many Chinese composers. This document will take a close look in the way that three modern Chinese composers have adapted their own compositional styles to the genre. Composers Ding Shan-de, Chen Ming-zhi, and Zhang Shuai, while prominent in their homeland, are relatively unknown outside China. The Three Piano Preludes by Ding Shan-de, The Piano Preludes and Fugues by Chen Ming-zhi and The Three Preludes for Piano by Zhang Shuai are three popular works which exhibit Chinese musical idioms and demonstrate the variety of approaches to the genre of the piano prelude bridging the twentieth century.
    [Show full text]
  • Yunnan Provincial Highway Bureau
    IPP740 REV World Bank-financed Yunnan Highway Assets management Project Public Disclosure Authorized Ethnic Minority Development Plan of the Yunnan Highway Assets Management Project Public Disclosure Authorized Public Disclosure Authorized Yunnan Provincial Highway Bureau July 2014 Public Disclosure Authorized EMDP of the Yunnan Highway Assets management Project Summary of the EMDP A. Introduction 1. According to the Feasibility Study Report and RF, the Project involves neither land acquisition nor house demolition, and involves temporary land occupation only. This report aims to strengthen the development of ethnic minorities in the project area, and includes mitigation and benefit enhancing measures, and funding sources. The project area involves a number of ethnic minorities, including Yi, Hani and Lisu. B. Socioeconomic profile of ethnic minorities 2. Poverty and income: The Project involves 16 cities/prefectures in Yunnan Province. In 2013, there were 6.61 million poor population in Yunnan Province, which accounting for 17.54% of total population. In 2013, the per capita net income of rural residents in Yunnan Province was 6,141 yuan. 3. Gender Heads of households are usually men, reflecting the superior status of men. Both men and women do farm work, where men usually do more physically demanding farm work, such as fertilization, cultivation, pesticide application, watering, harvesting and transport, while women usually do housework or less physically demanding farm work, such as washing clothes, cooking, taking care of old people and children, feeding livestock, and field management. In Lijiang and Dali, Bai and Naxi women also do physically demanding labor, which is related to ethnic customs. Means of production are usually purchased by men, while daily necessities usually by women.
    [Show full text]