Prepare for the Worst, Scope for the Pest
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Review of the Origin and Evolution of Uygur Musical Instruments
2019 International Conference on Humanities, Cultures, Arts and Design (ICHCAD 2019) A Review of the Origin and Evolution of Uygur Musical Instruments Xiaoling Wang, Xiaoling Wu Changji University Changji, Xinjiang, China Keywords: Uygur Musical Instruments, Origin, Evolution, Research Status Abstract: There Are Three Opinions about the Origin of Uygur Musical Instruments, and Four Opinions Should Be Exact. Due to Transliteration, the Same Musical Instrument Has Multiple Names, Which Makes It More Difficult to Study. So Far, the Origin of Some Musical Instruments is Difficult to Form a Conclusion, Which Needs to Be Further Explored by People with Lofty Ideals. 1. Introduction Uyghur Musical Instruments Have Various Origins and Clear Evolution Stages, But the Process is More Complex. I Think There Are Four Sources of Uygur Musical Instruments. One is the National Instrument, Two Are the Central Plains Instruments, Three Are Western Instruments, Four Are Indigenous Instruments. There Are Three Changes in the Development of Uygur Musical Instruments. Before the 10th Century, the Main Musical Instruments Were Reed Flute, Flute, Flute, Suona, Bronze Horn, Shell, Pottery Flute, Harp, Phoenix Head Harp, Kojixiang Pipa, Wuxian, Ruan Xian, Ruan Pipa, Cymbals, Bangling Bells, Pan, Hand Drum, Iron Drum, Waist Drum, Jiegu, Jilou Drum. At the Beginning of the 10th Century, on the Basis of the Original Instruments, Sattar, Tanbu, Rehwap, Aisi, Etc New Instruments Such as Thar, Zheng and Kalong. after the Middle of the 20th Century, There Were More Than 20 Kinds of Commonly Used Musical Instruments, Including Sattar, Trable, Jewap, Asitar, Kalong, Czech Republic, Utar, Nyi, Sunai, Kanai, Sapai, Balaman, Dapu, Narre, Sabai and Kashtahi (Dui Shi, or Chahchak), Which Can Be Divided into Four Categories: Choral, Membranous, Qiming and Ti Ming. -
Springtime Is a Season of Senses Awakening
18 | Tuesday, March 9, 2021 HONG KONG EDITION | CHINA DAILY LIFE Springtime is a season of senses awakening As a child growing up in a sub- urban town in the Northeast of the United States, the arrival of spring had little meaning for me. Sure, we had a weeklong spring vacation from school, but the operative word there was vacation, not spring. For the kids in my neighbor- hood, the arrival of spring was a non-event. There were two important seasons: winter, when we could go skating and sledding or build snow forts, and summer, when we could f-i-n-a-l-l-y make proper use of the beach about Left: Liu Jing, a promoter of traditional Chinese music and instruments, plays the pipa in the style of Tang Dynasty music. Middle and right: Liu in her work, Prelude to the 100 meters east of my family Konghou of Li Ping, a short video based on a namesake poem written by poet Li He from the Tang period. PHOTOS PROVIDED TO CHINA DAILY home. Spring and autumn were just technical details, weeks and weeks of waiting for the good times’ return. And, even though the begin- The melody of our heritage John ning of autumn Lydon was a clearly Second demarcated event Instruments, once out of fashion, enjoy a surge of popularity as composer combines history Thoughts — summer vaca- tion abruptly fin- with music to provide the harmony of a bygone era, Wang Ru reports. ished, and it was back to school for an eternity of 10 months — t was a moment seared in her spring had little to distinguish memory. -
Plucked Stringed Instruments
Plucked Stringed Instruments Fig. 2.1: The Pipa 18 Pipa 2 琵琶 Pipa HISTORY The grand dame of plucked stringed instruments, the pipa is one of the most expressive instruments in the Chinese orchestra (Fig. 2.1). Recent moves by some major Chinese orchestras include removing the instrument entirely from the orchestral formation due to its overpowering character and inability to blend. Its techniques, however, are applied to almost every plucked stringed instrument and its concepts have been borrowed for the reformations of various plucked stringed instruments. The term pipa used today refers to the lute-shaped instrument which comprises of four strings and a fretted soundboard of 20 to 25 frets. In the ancient Chinese dynasties of Sui and Han, the term pipa was generic for any instrument that was plucked or had a plucked string aspect to it. The word pipa is made up of two Chinese characters – 琵 pi and 琶 pa1. The words describe how the instrument is played and the sounds it produced. The forward plucking of the string using one’s right hand was termed pi, and the backward plucking of the string with the right hand was termed pa. The first recorded connotation to the word pipa was found in 刘熙 Liu Xi’s <<释名>> Shi Ming, where it was recorded as piba2. Although greatly associated with the Chinese, the pipa is not native to China; the instrument was introduced to China by Asia Minor over 2000 years ago. As the instrument is foreign, its counterparts in the forms of lutes and mandolins can still be found in Central and Western Asia. -
Download Article (PDF)
Advances in Social Science, Education and Humanities Research, volume 171 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017) Discussion on Western Region Music in Northern Zhou Dynasty Xing Tang School of Literature Northwest Minzu University Lanzhou, China Abstract—The Northern Zhou Dynasty (including Western Western and Eastern Han Dynasty, which include folk witch Wei Dynasty), as a dynasty that serve as a link between past and music dance, welcome God music, send God music, Xiangge future, should have its place in the cultural history. In the and other songs; Later music is the Western music after the Northern Zhou Dynasty, various cultures in Western Regions Han Dynasty and before Western Wei Dynasty, which include were closely interwoven. As one of the important representatives, game music, ritual music, custom music and so on; Current the music presented a wide range of sources with a large number music is the Western music in Northern Zhou Dynasty, due to of complicated compositions. These Western music has unique the large number of countries in the Western Regions and the style but also coexistence which has very close relationship with constant attacking and frequent destruction of the Western Northern Zhou’s music, so it has great influence to the music of Northern Zhou Dynasty and even the music of future Regions, so current music in fact refers to the remnants and integration of the music of different countries in different generations. historical periods in the Western Regions, which include Keywords—Northern Zhou Dynasty; Western Regions; music Shengming music, Tuozhi music and so on. -
Analysis and Modeling of Timbre Perception Features in Musical Sounds
applied sciences Article Analysis and Modeling of Timbre Perception Features in Musical Sounds Wei Jiang 1,2,3, Jingyu Liu 1,2,3, Xiaoyi Zhang 1,2,3, Shuang Wang 1,2,3 and Yujian Jiang 1,2,3,* 1 Key Laboratory of Acoustic Visual Technology and Intelligent Control System, Communication University of China, Ministry of Culture and Tourism, Beijing 100024, China; [email protected] (W.J.); [email protected] (J.L.); [email protected] (X.Z.); [email protected] (S.W.) 2 Beijing Key Laboratory of Modern Entertainment Technology, Communication University of China, Beijing 100024, China 3 School of Information and Communication Engineering, Communication University of China, Beijing 100024, China * Correspondence: [email protected] Received: 25 December 2019; Accepted: 20 January 2020; Published: 22 January 2020 Abstract: A novel technique is proposed for the analysis and modeling of timbre perception features, including a new terminology system for evaluating timbre in musical instruments. This database consists of 16 expert and novice evaluation terms, including five pairs with opposite polarity. In addition, a material library containing 72 samples (including 37 Chinese orchestral instruments, 11 Chinese minority instruments, and 24 Western orchestral instruments) and a 54-sample objective acoustic parameter set were developed as part of the study. The method of successive categories was applied to each term for subjective assessment. A mathematical model of timbre perception features (i.e., bright or dark, raspy or mellow, sharp or vigorous, coarse or pure, and hoarse or consonant) was then developed for the first time using linear regression, support vector regression, a neural network, and random forest algorithms. -
Download Article
Advances in Social Science, Education and Humanities Research, volume 469 Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020) Musical Instruments of "Mongolian Music" and the Reflections Tegusi Zhou1,* 1Leshan Normal University, Leshan, Sichuan 614000, China *Corresponding author. Email: [email protected] ABSTRACT "Mongolian Music" refers to a part of the Mongolian court music and instrumental music preserved in the Qing Dynasty. It consists of two parts: "Jia Chui Yue Jiang" and "Fan Bu He Zou". Also, it is an important historical material mainly recorded in Mongolian, Chinese, Manchu and traditional Chinese musical notation. Based on the historical context and research overview of "Mongolian Music", this paper makes a philological analysis of the basic structure of musical instruments and the composition of their bands recorded in "Jia Chui Yue Jiang" and "Fan Bu He Zou" of "Code of Qing Dynasty", and then discusses the integrity, interdisciplinary and mutual verification research of "Mongolian music", trying to construct the research methods and ideas of musicology, literature, philology and linguistics as a whole. Keywords: "Mongolian music", "Jia Chui Yue Jiang", "Fan Bu He Zou", mutual verification Dynasty" and the Chinese translation of 64 Mongolian I. INTRODUCTION music in Liang Zhangju's "Nan Sheng Gong Yu Lu" in "Mongolian music" is a kind of historical material the Jiaqing period of Qing Dynasty. Then Huang that records the court banquet songs and instrumental Runhua and Qu Liusheng wrote and published the music since Yuan Dynasty in Mongolian, Chinese and "Discussion on Mongolian music", which pointed out Manchu. The rulers of the Qing Dynasty paid special that "the Mongolian original words of these songs still attention to the arrangement of historical documents, exist. -
JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary
JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary Chinese Composer Zhou Long’s Works for Solo Piano Mongolian Folk-Tune Variations, Wu Kui, and Pianogongs. (2014) Directed by Dr. Andrew Willis. 136 pp. Zhou Long is a Chinese American composer who strives to combine traditional Chinese musical techniques with modern Western compositional ideas. His three piano pieces, Mongolian Folk Tune Variations, Wu Kui, and Pianogongs each display his synthesis of Eastern and Western techniques. A brief cultural, social and political review of China throughout Zhou Long’s upbringing will provide readers with a historical perspective on the influence of Chinese culture on his works. Study of Mongolian Folk Tune Variations will reveal the composers early attempts at Western structure and harmonic ideas. Wu Kui provides evidence of the composer’s desire to integrate Chinese cultural ideas with modern and dissonant harmony. Finally, the analysis of Pianogongs will provide historical context to the use of traditional Chinese percussion instruments and his integration of these instruments with the piano. Zhou Long comes from an important generation of Chinese composers including, Chen Yi and Tan Dun, that were able to leave China achieve great success with the combination of Eastern and Western ideas. This study will deepen the readers’ understanding of the Chinese cultural influences in Zhou Long’s piano compositions. CHINESE AND WESTERN ELEMENTS IN CONTEMPORARY CHINESE COMPOSER ZHOU LONG’S WORKS FOR SOLO PIANO MONGOLIAN FOLK-TUNE VARIATIONS, WU KUI, AND PIANOGONGS by Wei Jiao A Dissertation Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2014 Approved by _________________________________ Committee Chair © 2014 Wei Jiao APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
Listening to Chinese Music
Listening to Chinese Music 1 Listening to Chinese Music This article is an English translation of part of the book Listening to Chinese Music 《中國音樂導賞》edited by Chuen-Fung Wong (黃泉鋒) and published by the Hong Kong Commercial Press in 2009 as a project of the Chinese Music Archive of the Chinese University of Hong Kong. With the permission by the Chinese Music Archive, this article is uploaded onto the Education Bureau’s website for teachers’ and students’ reference. As for the recordings of selected music, please refer to the CDs accompanying the printed copy of the Chinese version. © The Chinese Music Archive, the Chinese University of Hong Kong. All rights reserved. No part of this publication can be reproduced in any form or by any means. 2 Contents Foreword…………………………………………………………………………………..5 Translator’s Preface……………………………………………………………………….6 Chapter 1 Modern Chinese Orchestra ............................................................................. 8 Section 1 The Rise of the Modern Chinese Orchestra ......................................................... 9 Section 2 Instruments Used in the Modern Chinese Orchestra .......................................... 10 Section 3 The Characteristics of Chinese Orchestral Music and Its Genres ....................... 11 Section 4 The “Improvement” of Chinese Instruments ...................................................... 13 Section 5 The Development of Modern Chinese Orchestra ............................................... 15 Listening Guide ................................................................................................................... -
Library of Congress Medium of Performance Terms for Music
A clarinet (soprano) albogue anzhad USE clarinet BT double reed instrument USE imzad a-jaeng alghōzā Appalachian dulcimer USE ajaeng USE algōjā UF American dulcimer accordeon alg̲hozah Appalachian mountain dulcimer USE accordion USE algōjā dulcimer, American accordion algōjā dulcimer, Appalachian UF accordeon A pair of end-blown flutes played simultaneously, dulcimer, Kentucky garmon widespread in the Indian subcontinent. dulcimer, lap piano accordion UF alghōzā dulcimer, mountain BT free reed instrument alg̲hozah dulcimer, plucked NT button-key accordion algōzā Kentucky dulcimer lõõtspill bīnõn mountain dulcimer accordion band do nally lap dulcimer An ensemble consisting of two or more accordions, jorhi plucked dulcimer with or without percussion and other instruments. jorī BT plucked string instrument UF accordion orchestra ngoze zither BT instrumental ensemble pāvā Appalachian mountain dulcimer accordion orchestra pāwā USE Appalachian dulcimer USE accordion band satāra arame, viola da acoustic bass guitar BT duct flute USE viola d'arame UF bass guitar, acoustic algōzā arará folk bass guitar USE algōjā A drum constructed by the Arará people of Cuba. BT guitar alpenhorn BT drum acoustic guitar USE alphorn arched-top guitar USE guitar alphorn USE guitar acoustic guitar, electric UF alpenhorn archicembalo USE electric guitar alpine horn USE arcicembalo actor BT natural horn archiluth An actor in a non-singing role who is explicitly alpine horn USE archlute required for the performance of a musical USE alphorn composition that is not in a traditionally dramatic archiphone form. alto (singer) A microtonal electronic organ first built in 1970 in the Netherlands. BT performer USE alto voice adufo alto clarinet BT electronic organ An alto member of the clarinet family that is USE tambourine archlute associated with Western art music and is normally An extended-neck lute with two peg boxes that aenas pitched in E♭. -
Jian'an Literature Revisited: Poetic Dialogues in the Last Three
Jian’an Literature Revisited: Poetic Dialogues in the Last Three Decades of the Han Dynasty Hsiang-Lin Shih A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: David R. Knechtges, Chair Ching-Hsien Wang Zev Handel Program Authorized to Offer Degree: Asian Languages and Literature ©Copyright 2013 Hsiang-Lin Shih University of Washington Abstract Jian’an Literature Revisited: Poetic Dialogues in the Last Three Decades of the Han Dynasty Hsiang-Lin Shih Chair of the Supervisory Committee: Professor David R. Knechtges Department of Asian Languages and Literature The Jian’an period (196-220), which is best known through the fictionalized account in the Romance of the Three States, is also an important literary period. It is celebrated for its major writers such as Cao Cao, Cao Pi, Cao Zhi and Wang Can. Previous scholars have mainly been concerned with the life and poetry of an individual writer. In this dissertation, I attempt to take an approach that crosses the boundary between individual writers. I read Jian’an poems— including shi, fu, and yuefu—as the authors’ poetic dialogues with their contemporaries. This approach is based on the fact that the writers gathered at the court of Cao Cao and shared the language of poetry. Whether drinking together or living apart, they often engaged in a dialogue on a common topic through the medium of writing. Their topics range from travel, careers, expeditions, to merriment. Like the Athenian speechmakers in Plato’s “Symposium,” Jian’an writers also tried to impress, persuade, entertain and challenge one another in their poems. -
MELODIC MIGRATION of the SILK ROAD —Music Samplings of Northwest China Bright Sheng My Heart Beat Faster When the Plane Began
MELODIC MIGRATION OF THE SILK ROAD —Music Samplings of Northwest China Bright Sheng My heart beat faster when the plane began its descent toward Xining Airport on the Qinghai-Tibet Plateau. I was nervous. I had spent over seven years here during the Cultural Revolution working with the province’s music and dance troupe. Qinghai, where historically only exiles and prisoners dwelt, has always been considered inhospitable. My life here was rough and difficult. It was not until Mao died and the Cultural Revolution was over that I returned to Shanghai to study music composition at the Conservatory. Four years later I moved to New York City to further my study. I never looked back. When I left here, bringing to an end my self-imposed exile, I sensed envy and perhaps jealousy from some friends and colleagues. Now, twenty-two years later, what would my friends here think of me, especially since I had not kept in touch? Would they still welcome me as a friend or look upon me as a big-shot American composer returning to claim glory? But my heart never left Qinghai. Although I was born and raised in Shanghai, Qinghai has always felt like a second homeland. I arrived here when I was fifteen. It was here that I made up my mind to be a musician. It was here that I first kissed a girl. And it was in the mountains of Qinghai that I first tasted the beauty of the folk songs which remain the inspiration for my works. During the past two decades, I often dreamed of coming back here to see my friends and again to smell the air in Xining, the capital, in my memory always dusty and filled with the odor of yak butter.