DOCSLIB.ORG

TV Show Knows What's in Your Fridge Is Food for Thought

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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. Kugou, a leading social media plat- The Fangs say they will collabo- form of digital music. The platform rate on music pieces composed and has been highlighting traditional played for video games. music along with other forms of The younger Fang, who plans to Chinese intangible cultural heri- release an EP of his own composi- tage, and garners more than 400 tions this year, says: “I am drawn to million active users monthly. both Chinese and Western music The report focused on the genres since I am influenced by both of of traditional Chinese art, such as Performers from the Shanghai Kunqu Opera Troupe greet their online fans after a livestreamed show on March 16, to mark the 19th them.” operas and folk music, and also ana- anniversary of Kunqu Opera being listed as a UNESCO “oral and intangible heritage of humanity”. Over 600,000 people watched the show. lyzed age differences and locations. Group influencers It found that more than 100 million According to the report, there are people tune in to traditional Chi- also lots of young pop stars combin- nese music monthly. ing traditional Chinese music ele- The top three most popular types ments into their creations, which of traditional Chinese operas are are offering their young fans oppor- named in the report — Yueju (or tunities to enjoy traditional music Cantonese Opera), Peking Opera (or as well as inspiring them to discover Jingju) and Huangmeixi. Tuning in to the past more about Chinese arts. It also pointed out that the popu- Chinese pop idol Zhang Yixing larity of traditional music is a result of released his latest album, Lit, on May the rise in social media and network- 29, which sold over 1.5 million copies ing, and through joint efforts made Traditional music has found increasing appeal among a younger audience, within eight minutes through major by traditional musicians and opera due to greater access to it and the passion of its fans, Chen Nan reports. domestic music streaming platforms. performers. For example, Peking The 29-year-old singer-songwriter Opera artists from Shanghai Jingju has demonstrated his ability to sing Theatre Company once recorded for and inspired me to change my and rap, and also to express his lyrics a Chinese video game that centers on music.” in different languages, such as Chi- exploring Chinese food. The musician, now in his late 50s, nese and English. He combined tradi- was first introduced to music by his Traditional Chinese tional Chinese and Western styles of Rising of stars father, also a pipa player in a local musicians are music. The instruments used for the Pipa player Fang Jinlong, father Huangmeixi opera troupe, and start- songs are also a fusion of old and new. of Fang Songping, is a musician who ed to play liuqin (a four-stringed constantly trying to The classic Peking Opera piece, Fare- has been devoted to preserving and Chinese mandolin) at 6 years old. come up with new well My Concubine, featuring the promoting traditional music among Before graduating from primary love story of Xiang Yu, a warlord in young people for years. He has school, he could play more than 10 ways to promote the the late Qin Dynasty (221-206 BC) attracted lots of young fans on his traditional Chinese instruments. genre. My idea is to and his concubine Yu Ji, was featured social media platforms. “I didn’t expect that the show on in his music video of the title song, His 12-minute performance at the Bilibili would receive so much atten- fully display the which has been viewed over 7 million New Year’s Eve concert on Dec 31, tion. I am very proud of it. Traditional versatility...” times on YouTube. 2019, livestreamed by video-sharing Chinese musicians are constantly try- The report also gave an example platform Bilibili, made him an ing to come up with new ways to pro- Fang Jinlong, pipa player of Kunqu Opera, one of the oldest online star, receiving warm feed- mote the genre. My idea is to fully traditional Chinese operas, which back from the young audience. He display the versatility of the music in a adding that they hope to introduce attracts over 100 million listeners adapted pop songs with traditional fun way,” says Fang Jinlong. traditional Chinese musical instru- who were born after 1990. The lis- Chinese folk tunes and played doz- The process of experimenting with ments with a contemporary touch, by teners play Kunqu Opera melodies ens of musical instruments, includ- his music and making his music pop- conducting livestreams and playing for about 275,000 times. ing the pipa and erhu. His show ular among young audiences is “like pop songs from the East and the West. On May 16, the Shanghai Kunqu even incorporated elements from that of an experienced chef sensing Opera Troupe, together with Zheji- Chinese martial arts culture, Ameri- how different ingredients will One’s two worlds ang Kunqu Opera Troupe and the can folk music and Japanese anime. change the flavor of a dish”, he says. Fang Songping, born and raised in Suzhou Kunqu Opera Troupe, During the livestreamed show, he “I taught myself to play all those Guangzhou, Guangdong province, co-launched an online show as part was accompanied by a 100-member instruments to better understand learned to play piano and the pipa at of a series of events to mark the 19th symphony orchestra under the traditional Chinese music,” adds the 4 and also developed an interest in anniversary of the art being listed as baton of conductor Zhao Zhao, and musician, who also co-founded a Western music as a child. He was a UNESCO “oral and intangible her- he’s seen sometimes talking with female band, Sweet 18, in 2003. The exposed to a diverse array of West- itage of humanity” in 2001. More other musicians, communicating band is known for their creative ern genres, like R&B and rock, at the than 600,000 viewers watched the with the audience and imparting interpretation of traditional Chi- Musicians Institute in Hollywood, livestreamed performance, mostly knowledge about the instruments nese musical instruments and their California, where he began studying their long-term followers who or the music, while the audience adaptation of famous Chinese pop in 2012. haven’t had much chance to watch was able to interact with the musi- and folk songs. Like many youngsters, he used to performances in theaters since the cians, as well as with each other, by Amid the COVID-19 pandemic, play “loud music” in his room at COVID-19 outbreak. leaving instant messages on the the Fangs released a song, Illumi- home, which his father didn’t “We have achieved popularity screen. nate, for which the younger Fang understand and had no idea what among a young audience, especially Fang Jinlong, from Anqing, Anhui composed the instrumental piece, he was listening to. those aged between 25 and 35,” says province, says: “I have been a musi- while his father played nine instru- He inherited his father’s musical Gu Haohao, 47, president of the cian for 42 years and released nearly ments, such as the pipa, guqin, and Chinese traditional musician Fang Jinlong (left) plays pipa gene and can play various kinds of Shanghai Kunqu Opera Troupe. 40 albums, but previously my music shakuhachi (a Japanese flute). with his son, indie musician Fang Songping, on guitar, in instruments, like the guqin and wasn’t all that popular among “Music can bridge cultures and popular reality show Gems of Chinese Poetry. zhongruan (a traditional four- Contact the writer at younger listeners. It made me think connect generations,” the father says, PHOTOS PROVIDED TO CHINA DAILY stringed plucked instrument), but he [email protected] TV show knows what’s in your fridge is food for thought By XING WEN guests, meanwhile probing into the on the show, sharing their personal [email protected] diversity of young people’s lifestyles thoughts about eating, cooking and and their attitudes toward life.
Recommended publications
  • Globalization and Theater Spectacles in Asia

    Globalization and Theater Spectacles in Asia

    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 15 (2013) Issue 2 Article 22 Globalization and Theater Spectacles in Asia I-Chun Wang National Sun Yat-sen University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Wang, I-Chun.
  • SILK ROAD: the Silk Road

    SILK ROAD: the Silk Road

    SILK ROAD: The Silk Road (or Silk Routes) is an extensive interconnected network of trade routes across the Asian continent connecting East, South, and Western Asia with the Mediterranean world, as well as North and Northeast Africa and Europe. FIDDLE/VIOLIN: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers (see below). Their two-stringed upright fiddles called morin khuur were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The morin khuur produces a sound that is poetically described as “expansive and unrestrained”, like a wild horse neighing, or like a breeze in the grasslands. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the Erhu, the Chinese violin or 2-stringed fiddle, was introduced to China over a thousand years ago and probably came to China from Asia to the west along the silk road. The sound box of the Ehru is covered with python skin. The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The violin family developed during the Renaissance period in Europe (16th century) when all arts flourished.
  • Recent Publications in Music 2010

    Recent Publications in Music 2010

    Fontes Artis Musicae, Vol. 57/4 (2010) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2010 Compiled and edited by Geraldine E. Ostrove On behalf of the Pour le compte de Im Auftrag der International l'Association Internationale Internationalen Vereinigung Association of Music des Bibliothèques, Archives der Musikbibliotheken, Libraries Archives and et Centres de Musikarchive und Documentation Centres Documentation Musicaux Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2009. It includes titles of new journals, but no journal articles or excerpts from compilations. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. CONTRIBUTORS Austria: Thomas Leibnitz New Zealand: Marilyn Portman Belgium: Johan Eeckeloo Nigeria: Santie De Jongh China, Hong Kong, Taiwan: Katie Lai Russia: Lyudmila Dedyukina Estonia: Katre Rissalu Senegal: Santie De Jongh Finland: Tuomas Tyyri South Africa: Santie De Jongh Germany: Susanne Hein Spain: José Ignacio Cano, Maria José Greece: Alexandros Charkiolakis González Ribot Hungary: Szepesi Zsuzsanna Tanzania: Santie De Jongh Iceland: Bryndis Vilbergsdóttir Turkey: Paul Alister Whitehead, Senem Ireland: Roy Stanley Acar Italy: Federica Biancheri United Kingdom: Rupert Ridgewell Japan: Sekine Toshiko United States: Karen Little, Liza Vick. The Netherlands: Joost van Gemert With thanks for assistance with translations and transcriptions to Kersti Blumenthal, Irina Kirchik, Everett Larsen and Thompson A.
  • Dating, Digital Media, and Diaspora: Contextualising the Cultural Uses of Tinder and Tantan Among Australian Chinese Diasporas

    Dating, Digital Media, and Diaspora: Contextualising the Cultural Uses of Tinder and Tantan Among Australian Chinese Diasporas

    DATING, DIGITAL MEDIA, AND DIASPORA: CONTEXTUALISING THE CULTURAL USES OF TINDER AND TANTAN AMONG AUSTRALIAN CHINESE DIASPORAS Xu Chen BA, MA Submitted in fulfillment of the requirements for the degree of Doctor of Philosophy School of Communication Creative Industries Faculty Queensland University of Technology 2020 Keywords Chinese diasporas Dating apps Digital cultures Ethnicity Sexual cultures Social media Dating, digital media, and diaspora: Contextualising the cultural uses of Tinder and Tantan among Australian Chinese diasporas i Abstract Bringing together perspectives from digital dating, sexual cultures, and diaspora studies, this project investigates how Australia-based Chinese users engage with Tinder and Tantan, two dating applications (apps) that have emerged from different cultural contexts – one Western, and one non-Western. Tantan is a popular dating app in mainland China. It was designed to mimic Tinder which, like other Western social media platforms, is blocked in mainland China. Although the study of dating apps has become a burgeoning research field over the past decade, little work has been done – and then only recently – on diasporic uses of dating apps. Research focusing on digital diaspora has shown that social media are essential to the maintenance and negotiation of diasporic identity among Australian Chinese diasporas. Within this digital-diasporic research, however, little attention has been paid to the role of dating apps, despite the popularity of both Chinese and Western dating apps among Chinese diasporic communities. To address this lack of attention, this research places a much-needed focus on the role of dating apps within digital diaspora studies. At the same time, it expands the emerging critical focus on diaspora within dating app studies.
  • Video Competition 2020

    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
  • Music at Application of Makeup That Transforms the Actress Into Qiao Xiao-Qin

    Music at Application of Makeup That Transforms the Actress Into Qiao Xiao-Qin

    time and becoming the main character in the ancient Friday, May 23, 2014 story – Du Li-Niang. The performance features 8:00 p.m., Concert Hall Carleton College superstar Kunqu Opera actress Shen Yi-Li from Carleton Choir Concert Shanghai, accompanied by top professional performers Something Like A Star of Chinese traditional instruments. The first half of Lawrence Burnett, conductor the evening includes live music accompanying the Julian Pozniak, student conductor Music at application of makeup that transforms the actress into Qiao Xiao-Qin. This provides the audience a rare Lawrence Burnett conducts a program of choral opportunity to view live on stage this amazing makeup favorites on the theme of earth and sky. Senior process that is such an important part of Chinese music major Julian Pozniak conducts Vivaldi’s traditional opera. Gloria to culminate his years of musical leadership Carleton in the choral ensembles. Co - Sponsored by the Department of Asian Studies, the Office of the Director of Arts, and the Department Spring 2014 of Music Wednesday, May 28, 2014 7:00 p.m., Concert Hall Sunday, April 27, 2014 Saturday, April 5, 2014 7:30 p.m., Concert Hall Piano Studios Recital 2:20 – 3:00 p.m., Mall of America - Nicola Melville, coordinator Sears Rotunda Guest Artist Concert Mass Appeal 7th Annual A Passage to China: Thursday, May 29, 2014 Music of East Asia I Cantanti Chamber Choirs, Wayne Kivell, conductor 12:10 p.m., Concert Hall Chinese Music Ensemble, Student Chamber Music Recital I Gao Hong, director The concert features settings of the modern Mass, all Nicola Melville, coordinator Carleton Singers, composed in the last 50 years.
  • Appendix a – Transcripts of Finale Show of American Idol 2005 103

    Appendix a – Transcripts of Finale Show of American Idol 2005 103

    A CRITICAL COMPARISON OF AMERICAN IDOL AND SUPER GIRL: A CROSS-CULTURAL COMMUNICATION ANALYSIS OF AMERICAN AND CHINESE CULTURES A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULLFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS BY YUNXUE DING ADVISOR: DR. JAMES W. CHESEBRO BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2008 2 Table of Contents Title Page 1 Table of Contents 2 List of Tables 3 Acknowledgements 4 Chapter One: Introduction 5 Chapter Two: Review of the Literature 19 Chapter Three: Methods 37 Chapter Four: Findings 55 Chapter Five: Major Conclusions and Limitations 83 References: 93 Appendix A – Transcripts of Finale Show of American Idol 2005 103 Appendix B – Transcripts of Finale Show of Super Girl 2005 118 Appendix C – Top-level meetings and contacts between the United States and China since 1972 157 Appendix D – Thirteen core value dimensions used to distinguish world cultures 160 3 List of Tables Table 1 – Rankings of American Idol Finale shows 33 Table 2 – Fantasy theme analysis: basic components, definitions, and critical concepts/notes on method. 49 Table 3 – The awards and nominations that Ms. Carrie Underwood won 57 Table 4 – Votes of 3 finalists in Finale Show of Super Girl season 2005 59 4 Acknowledgements I would like to acknowledge my appreciation to Dr. James W. Chesebro for his guidance towards the completion of this thesis and confidence in me. I am also grateful to Dr. Joseph P. Misiewicz and Dr. John Dailey for their constructive criticism in the writing of this thesis. I would also like to thank my wife, Xuesong Shen, for her unconditional love and continuous support.
  • Journal of Asian Studies Contemporary Chinese Cinema Special Edition

    Journal of Asian Studies Contemporary Chinese Cinema Special Edition

    the iafor journal of asian studies Contemporary Chinese Cinema Special Edition Volume 2 – Issue 1 – Spring 2016 Editor: Seiko Yasumoto ISSN: 2187-6037 The IAFOR Journal of Asian Studies Volume 2 – Issue – I IAFOR Publications Executive Editor: Joseph Haldane The International Academic Forum The IAFOR Journal of Asian Studies Editor: Seiko Yasumoto, University of Sydney, Australia Associate Editor: Jason Bainbridge, Swinburne University, Australia Published by The International Academic Forum (IAFOR), Japan Executive Editor: Joseph Haldane Editorial Assistance: Rachel Dyer IAFOR Publications. Sakae 1-16-26-201, Naka-ward, Aichi, Japan 460-0008 Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 IAFOR Publications © Copyright 2016 ISSN: 2187-6037 Online: joas.iafor.org Cover image: Flickr Creative Commons/Guy Gorek The IAFOR Journal of Asian Studies Volume 2 – Issue I – Spring 2016 Edited by Seiko Yasumoto Table of Contents Notes on contributors 1 Welcome and Introduction 4 From Recording to Ritual: Weimar Villa and 24 City 10 Dr. Jinhee Choi Contested identities: exploring the cultural, historical and 25 political complexities of the ‘three Chinas’ Dr. Qiao Li & Prof. Ros Jennings Sounds, Swords and Forests: An Exploration into the Representations 41 of Music and Martial Arts in Contemporary Kung Fu Films Brent Keogh Sentimentalism in Under the Hawthorn Tree 53 Jing Meng Changes Manifest: Time, Memory, and a Changing Hong Kong 65 Emma Tipson The Taste of Ice Kacang: Xiaoqingxin Film as the Possible 74 Prospect of Taiwan Popular Cinema Panpan Yang Subtitling Chinese Humour: the English Version of A Woman, a 85 Gun and a Noodle Shop (2009) Yilei Yuan The IAFOR Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 Notes on Contributers Dr.
  • Performing Chinese Contemporary Art Song

    Performing Chinese Contemporary Art Song

    Performing Chinese Contemporary Art Song: A Portfolio of Recordings and Exegesis Qing (Lily) Chang Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide July 2017 Table of contents Abstract Declaration Acknowledgements List of tables and figures Part A: Sound recordings Contents of CD 1 Contents of CD 2 Contents of CD 3 Contents of CD 4 Part B: Exegesis Introduction Chapter 1 Historical context 1.1 History of Chinese art song 1.2 Definitions of Chinese contemporary art song Chapter 2 Performing Chinese contemporary art song 2.1 Singing Chinese contemporary art song 2.2 Vocal techniques for performing Chinese contemporary art song 2.3 Various vocal styles for performing Chinese contemporary art song 2.4 Techniques for staging presentations of Chinese contemporary art song i Chapter 3 Exploring how to interpret ornamentations 3.1 Types of frequently used ornaments and their use in Chinese contemporary art song 3.2 How to use ornamentation to match the four tones of Chinese pronunciation Chapter 4 Four case studies 4.1 The Hunchback of Notre Dame by Shang Deyi 4.2 I Love This Land by Lu Zaiyi 4.3 Lullaby by Shi Guangnan 4.4 Autumn, Pamir, How Beautiful My Hometown Is! by Zheng Qiufeng Conclusion References Appendices Appendix A: Romanized Chinese and English translations of 56 Chinese contemporary art songs Appendix B: Text of commentary for 56 Chinese contemporary art songs Appendix C: Performing Chinese contemporary art song: Scores of repertoire for examination Appendix D: University of Adelaide Ethics Approval Number H-2014-184 ii NOTE: 4 CDs containing 'Recorded Performances' are included with the print copy of the thesis held in the University of Adelaide Library.
  • National Endowment for the Arts Annual Report 1993

    National Endowment for the Arts Annual Report 1993

    L T 1 TO THE CONGRESS OF THE UNITED STATES: It is my special pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1993. The National Endowment for the Arts has awarded over 100,000 grants since 1965 for arts projects that touch every community in the Nation. Through its grants to individual artists, the agency has helped to launch and sustain the voice and grace of a generation--such as the brilliance of Rita Dove, now the U.S. Poet Laureate, or the daring of dancer Arthur Mitchell. Through its grants to art organizations, it has helped invigorate community arts centers and museums, preserve our folk heritage, and advance the perform­ ing, literary, and visual arts. Since its inception, the Arts Endowment has believed that all children should have an education in the arts. Over the past few years, the agency has worked hard to include the arts in our national education reform movement. Today, the arts are helping to lead the way in renewing American schools. I have seen first-hand the success story of this small agency. In my home State of Arkansas, the National Endowment for the Arts worked in partnership with the State arts agency and the private sector to bring artists into our schools, to help cities revive downtown centers, and to support opera and jazz, literature and music. All across the United States, the Endowment invests in our cultural institutions and artists. People in communities small and large in every State have greater opportunities to participate and enjoy the arts.
  • The Saxophone in China: Historical Performance and Development

    The Saxophone in China: Historical Performance and Development

    THE SAXOPHONE IN CHINA: HISTORICAL PERFORMANCE AND DEVELOPMENT Jason Pockrus Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Eric M. Nestler, Major Professor Catherine Ragland, Committee Member John C. Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Pockrus, Jason. The Saxophone in China: Historical Performance and Development. Doctor of Musical Arts (Performance), August 2018, 222 pp., 12 figures, 1 appendix, bibliography, 419 titles. The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai’s nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China’s musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.
  • De La Música Tradicional De China. Selección

    De La Música Tradicional De China. Selección

    Discografía de la música tradicional de China. Selección Biblioteca Fundación Juan March Esta selección discográfica ha sido preparada con motivo de la exposición El principio Asia. China, Japón e India y el arte contemporáneo en España (1957-2017) y del ciclo de cinco conciertos Oriente y la música occidental. Durante la preparación de esta discografía no han sido incluidos numerosos registros publicados en China de muy difícil localización en Occidente. Tampoco se mencionan grabaciones sonoras anteriores al vinilo. Las músicas que aparecen en estos discos son un breve apunte de la riqueza musical tradicional que aún se practica en este país. Muchos de estos soportes sonoros han sido y son, además, fuente de estudio para compositores e intérpretes occidentales. La influencia de estas músicas sobre las técnicas compositivas, el timbre vocal e instrumental o sobre la concepción del tiempo musical es esencial para comprender una gran parte de la historia musical del siglo XX. Selección discográfica de José Luis Maire Biblioteca Fundación Juan March Abril de 2018 Música y canto budista La liturgia budista y taoísta en China tiene una historia de casi 2000 años y todavía se practica ampliamente en la actualidad. Desde su llegada a China hasta las llamadas tres dinastías del Norte y del Sur (420-589 d. C.), el budismo sufrió un proceso de consolidación hasta su profunda adaptación. Como numerosos documentos históricos demuestran (textos, pinturas y esculturas), el budismo introdujo en China nuevos géneros y prácticas rituales de una manera progresiva. Uno de los géneros más representativos y específicos de la liturgia vocal china es el denominado canto fanbei, caracterizado por la construcción de melodías melismáticas surgidas como consecuencia de un proceso de transculturación con las formas nativas de China.