DOCSLIB.ORG

A Discussion of Shiguang Cui's Piano Concerto No. 2, Focusing on A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Discussion of Shiguang Cui's Piano Concerto No. 2, Focusing on A The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-2016 A Discussion of Shiguang Cui’s Piano Concerto No. 2, Focusing on a Stylistic Analysis and Traditional Chinese Musical Elements Yuting Ji University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Music Performance Commons, and the Other Music Commons Recommended Citation Ji, Yuting, "A Discussion of Shiguang Cui’s Piano Concerto No. 2, Focusing on a Stylistic Analysis and Traditional Chinese Musical Elements" (2016). Dissertations. 903. https://aquila.usm.edu/dissertations/903 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. A DISCUSSION OF SHIGUANG CUI’S PIANO CONCERTO NO. 2, FOCUSING ON A STYLISTIC ANALYSIS AND TRADITIONAL CHINESE MUSICAL ELEMENTS by Yuting Ji A Dissertation Submitted to the Graduate School and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: ________________________________________________ Dr. Ellen Elder, Committee Chair Assistant Professor, Music ________________________________________________ Dr. Elizabeth Moak, Committee Member Associate Professor, Music ________________________________________________ Dr. Christopher Goertzen, Committee Member Professor, Music ________________________________________________ Dr. Joseph Brumbeloe, Committee Member Associate Professor, Music ________________________________________________ Dr. Hsiaopei Lee, Committee Member Associate Professor, Music ________________________________________________ Dr. Karen S. Coats Dean of the Graduate School December 2016 COPYRIGHT BY Yuting Ji 2016 Published by the Graduate School ABSTRACT A DISCUSSION OF SHIGUANG CUI’S PIANO CONCERTO NO. 2, FOCUSING ON A STYLISTIC ANALYSIS AND TRADITIONAL CHINESE MUSICAL ELEMENTS by Yuting Ji December 2016 Shiguang Cui (崔世光) (b. 1948) is a Chinese composer and pianist. To celebrate the 2008 Summer Olympic Games held in Beijing, his work Concerto for Ten Concert Grand Pianos and Orchestra was commissioned by the Dean of the National Center for the Performing Arts, Mr. Ping Chen. Ten internationally-renowned pianists were invited to give the world premiere on August 19, 2008. The pianists were Claude Frank, Phillippe Entremont, Vladimir Feltsman, Louis Lortie, Yunyi Qin (秦云轶), Shikun Liu (刘诗昆), Lang Lang (郎朗), Cyprien Katsaris, Guillermo Gonzalez, and Sha Chen (陈萨).1 This piece was originally conceived as Concerto for Ten Concert Grand Pianos and Orchestra, and was composed in 2008 with the title China Jubilee (喜庆中国). The original concerto for ten pianos was never published. The only published edition of this work is for two pianos, with the second piano serving as the orchestral reduction, with a different title: Piano Concerto No. 2.2 The work contains four movements. My dissertation contains four chapters. Chapter I, a brief history of the development of keyboard instruments in China, includes information about several 1. Shiguang Cui, “China Jubilee–Concerto for Ten Concert Grand Pianos and Orchestra,” unpublished article by the composer, Hong Kong, December 30, 2008. 2. Ibid. ii important pianists who contributed to the development of the piano and to Chinese piano music. Chapter II gives an overview of Shiguang Cui’s career as a composer, his works for the keyboard, and background information on the Piano Concerto No. 2. Chapter III contains a stylistic analysis of the Concerto No. 2, including pentatonic scale techniques, use of the interval of a fourth, and the employment of traditional Chinese textural techniques as well as Western rhythmic and textural compositional techniques. Chapter IV discusses the influence of Chinese traditional musical elements in the Piano Concerto No. 2. These include Chinese folksongs and dances, quotation from Chinese operas, and the influence of Chinese instruments. Piano Concerto No. 2 is an important contribution to the genre and to the development of Chinese piano music. My hope is that more Chinese works will be composed, and that more pianists will be inspired to learn and perform Cui’s Piano Concerto No. 2 as well as his solo piano music. iii ACKNOWLEDGMENTS I wish to express my sincere gratitude to my piano professor and committee chair, Dr. Ellen Elder, who gave me valuable help in the completion of this project. Her professional knowledge, patience, and support have inspired me in my future career as a teacher. I also sincerely thank all of my committee members, Dr. Elizabeth Moak, Dr. Christopher Goertzen, Dr. Joseph Brumbeloe, and Dr. Hsiaopei Lee, for their guidance and encouragement during my years of doctoral study. iv DEDICATION I would like to express my deep gratitude to my parents, who provided their unconditional love, support, and encouragement to me in all aspects of life. I also wish to express my gratitude to respected Mr. Shiguang Cui, and my friends Jessica Ramer (USM Writing Center), Jonathan Embry, and Jingxian Wang, who rendered their help during this period of my project work. v TABLE OF CONTENTS ABSTRACT ........................................................................................................................ ii ACKNOWLEDGMENTS ................................................................................................. iv DEDICATION .................................................................................................................... v LIST OF ILLUSTRATIONS ........................................................................................... viii LIST OF MUSICAL EXAMPLES .................................................................................... ix CHAPTER I – A BRIEF HISTORY OF THE DEVELOPMENT OF KEYBOARD INSTRUMENTS IN CHINA .............................................................................................. 1 CHAPTER II – SHIGUANG CUI AND HIS WORKS FOR KEYBOARD ................... 10 Cui’s Life and Works for Keyboard ......................................................................... 10 1948-1973–Student Years ..................................................................................... 10 1973-1984–Work in China ................................................................................... 13 1984-1994–Studies and Work in the United States .............................................. 14 1994 to the Present–Late Career and Return to China .......................................... 15 Works for Keyboard ................................................................................................. 16 Piano Concerto No. 2 (China Jubilee) ..................................................................... 19 CHAPTER III – ANALYSIS............................................................................................ 24 Stylistic Analysis of Piano Concerto No. 2 .............................................................. 24 Pentatonic Scales .................................................................................................. 24 Six-Tone Scales .................................................................................................... 29 vi Seven-Tone Scales ................................................................................................ 31 Using The Interval of a Fourth.............................................................................. 34 Texture ...................................................................................................................... 36 Traditional Chinese Texture ................................................................................. 36 Western Rhythmic and Textural Compositional Techniques ............................... 40 CHAPTER IV – TRADITIONAL CHINESE MUSICAL ELEMENTS ......................... 47 Folksongs .................................................................................................................. 47 Folksong Elements ................................................................................................ 47 Quotation of Chinese Folksongs and Traditional Chinese Instruments................ 49 Chinese Operas ......................................................................................................... 52 Folk Dance Influence ................................................................................................ 54 Northeast Yangko ................................................................................................. 54 Guzi Yangko Influence ......................................................................................... 61 Er-Ren Zhuan Influence ........................................................................................ 63 Instruments ................................................................................................................ 66 Influence of Chinese Wind Instruments ............................................................... 66 Influence of Chinese Plucked String Instruments ................................................. 66 Influence of Chinese Bowed String Instruments .................................................. 70 Influence of Chinese Percussion Instruments ....................................................... 71 REFERENCES ................................................................................................................
Load more

Recommended publications
  • The Spring and Autumn Period & the Warring States Period
    http://www.purpleculture.net CHINESE MUSIC Pentatonic scale friend Zhong Ziqi by Playing “Sanfen Sunyi” method It is the collective name of This was one of the ancient five musical scales: do, re, mi, the Qin have their roots in this Chinese Lü generation sol and la. All the traditional methods. Guan Zhong in the Chinese scale forms included period, which fully reflects the Spring and Autumn Period the said five scales. Various improved musical instrument invented the Sanfen Sunyi modes might be formed Method that was used to based on each tone that is playing and composing skills figure out the length of Lü considered the principal tone for the pentatonic scale. The in a sequence of music tones and the enhanced music same or similar Lü generation consisting of the pentatonic methods also appeared in scale. According to the scale appreciation skills as well. As for ancient Greek and Arabic names of the principal tones, countries. Based on length modes could fall into different playing the ancient qin, ancient of the vibrating bodies, categories, such as do-mode, qin players also attributed the Sanfen Sunyi method re-mode, mi-mode, sol-mode included two aspects: “sanfen and la-mode. superb qin performance to true sunyi” and “sanfen yiyi.” Cutting one-third from a and deep feelings. According certain chord meant “sanfen sunyi,” which could result in to historical records, the singing of famous musician the upper fifth of the chord Qin Qing in the Zhou Dynasty could “shock the trees tone; And increasing the chord by one-third meant and stop clouds from moving,” and the singing of the “sanfen yiyi,” which generated the lower quarter of the folk singer Han E could “linger in the mind for a long chord tone.
    [Show full text]
  • HKUST Institutional Repository
    The Dance of Revolution: Yangge in Beijing in the Early 1950s* Chang-tai Hung ABSTRACT Yangge is a popular rural dance in north China. In the Yan’an era (1936–47) the Chinese Communist Party used the art form as a political tool to influence people’s thinking and to disseminate socialist images. During the early years of the People’s Republic of China, the Communists introduced a simpler form of yangge in the cities. In three major yangge musicals performed in Beijing, the Party attempted to construct “a narrative history through rhythmic movements” in an effort to weave the developments of the Party’s history into a coherent success story, affirming various themes: the support of the people, the valour of the Red Army, the wise leadership of the Party and the country’s bright future. However, urban yangge’s simplicity as an art form, the professionalization of art troupes, the nation’s increas- ing exposure to a variety of alternative dance forms and, worse still, stifling government control all contributed to the rapid decline of this art form in urban China. Unlike the Bolsheviks, who at the time of the October Revolution of 1917 had little experience with political art forms, the Chinese Communists, before their seizure of power in 1949, had skilfully employed the popular art media to conduct an effective propaganda campaign among the mostly illiterate peasant inhabitants of rural China. The story of their use of such rural art forms as storytelling and yangge dance as a political tool during the Yan’an era (1936–47) is now relatively well known.1 Yet their use in the post-Yan’an period, particularly after the establishment of the Peo- ple’s Republic of China (PRC) in1949, has rarely been examined.
    [Show full text]
  • The Rise of Guangchangwu in a Chinese Village
    International Journal of Communication 11(2017), 4499–4522 1932–8036/20170005 Reading Movement in the Everyday: The Rise of Guangchangwu in a Chinese Village MAGGIE CHAO Simon Fraser University, Canada Communication University of China, China Over recent years, the practice of guangchangwu has captured the Chinese public’s attention due to its increasing popularity and ubiquity across China’s landscapes. Translated to English as “public square dancing,” guangchangwu describes the practice of group dancing in outdoor spaces among mostly middle-aged and older women. This article examines the practice in the context of guangchangwu practitioners in Heyang Village, Zhejiang Province. Complicating popular understandings of the phenomenon as a manifestation of a nostalgic yearning for Maoist collectivity, it reads guangchangwu through the lens of “jumping scale” to contextualize the practice within the evolving politics of gender in post-Mao China. In doing so, this article points to how guangchangwu can embody novel and potentially transgressive movements into different spaces from home to park, inside to outside, and across different scales from rural to urban, local to national. Keywords: square dancing, popular culture, spatial practice, scale, gender politics, China The time is 7:15 p.m., April 23, 2015, and I am sitting adjacent to a small, empty square tucked away from the main thoroughfare of a university campus in Beijing. As if on cue, Ms. Wu appears, toting a small loudspeaker on her hip.1 She sets it down on the stairs, surveying the scene before her: a small flat space, wedged in between a number of buildings, surrounded by some trees, evidence of a meager attempt at beautifying the area.
    [Show full text]
  • A Study on the Translation of Cultural Relic Texts from the Perspective of Skopos Theory— Taking the Cultural Relic Texts in the National Museum of China As Examples
    International Journal of Linguistics and Communication December 2020, Vol. 8, No. 2, pp. 40-45 ISSN: 2372-479X (Print) 2372-4803 (Online) Copyright © The Author(s). All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijlc.v8n2a5 URL: https://doi.org/10.15640/ijlc.v8n2a5 A Study on the Translation of Cultural Relic Texts from the Perspective of Skopos Theory— Taking the Cultural Relic Texts in the National Museum of China as Examples SONG Yuwei1 & LYU Liangqiu2 Abstract With the increasingly close cultural exchanges between China and the west, more foreigners show their interest and enthusiasm to Chinese culture. As the exhibition and educational institutions with cultural exchange functions, museums become their preferred visiting sites when they travel in China. In the process of spreading Chinese culture to the world, the translation of cultural relic texts in museum is an important part. This study collects hundreds of cases from exhibition introduction and cultural relic texts in the National Museum of China. Skopos Theory emphasized that translation should be oriented by target readers and the means of translation should be determined by the translation purposes, which is suitable to be applied in analysis of cultural relic texts. Under the guidance of Skopos Theory, the author classifies and analyzes the typical cases and puts forward four methods in the translation of cultural relic texts, including transliteration plus explanation, amplification, free Translation, omission. Keywords: cultural relic texts, Skopos Theory, the National Museum of China, translation method 1. Introduction With the continuous enhancement of Chinese cultural soft power and the deepening cultural exchanges between China and the West, more and more foreigners show their boundless interest and enthusiasm to Chinese culture.
    [Show full text]
  • From Trinidad to Beijing Dai Ailian and the Beginnings of Chinese Dance
    1 From Trinidad to Beijing Dai Ailian and the Beginnings of Chinese Dance Dong d-dong, dong d-dong. A gong sounds as the camera fixes on an empty stage set with an arched footbridge and blossoming tree branch. Dai Ailian emerges dressed in a folkloric costume of red balloon pants and a rose-colored silk jacket, a ring of red flowers in her hair and shoes topped with red pom-poms. Puppetlike, two false legs kick out from under the back of Dai’s jacket, while the false torso and head of an old man hunch forward in front of her chest, creating the illusion of two characters: an old man carrying his young wife on his back. This dance is Dai’s adaptation of “The Mute Carries the Cripple” (Yazi bei feng), a comic sketch performed in several regional variations of xiqu, or Chinese traditional theater (video 1). This particular version is derived from Gui opera(Guiju), a type of xiqu specific to Guangxi Autonomous Region in south China. Dai demonstrates her dance skill by isolating her upper body and lower body, so that her pelvis and legs convincingly portray the movements of an old man while her torso, arms, and head those of a young woman. As the man, Dai takes wide sweeping steps, kicking, squatting, and balancing with her feet flexed and knees bent between steps, occa- sionally lurching forward as if struggling to balance under the weight of the female rider. As the woman, Dai grips the old husband’s shoulders with one hand while she lets her head bob from side to side, her eyes sparkling as she uses her free hand to twirl a fan, point to things in her environment, and dab the old man’s forehead with a handkerchief.
    [Show full text]
  • A Comparative Study of Argentine Tango and Chinese Yangge
    ISSN 1712-8358[Print] Cross-Cultural Communication ISSN 1923-6700[Online] Vol. 8, No. 6, 2012, pp. 60-65 www.cscanada.net DOI:10.3968/j.ccc.1923670020120806.1255 www.cscanada.org A Comparative Study of Argentine Tango and Chinese Yangge REN Qing[a],*; SHI Fengcai[b] [a] Assistant Professor, School of Foreign Languages, China University of of various forms of music from Europe. The first time Geosciences (Wuhan), Wuhan, China. the term “tango” to be used seems in connection with the [b] Postgraduate Student, School of Foreign Languages, Zhongnan University of Economics and Law, Wuhan, China. dance in the 1890s. Initially it was just one of the many * Corresponding author. dances, but soon became popular throughout society, as theatres and street barrel organs spread it from the suburbs Supported by the Fundamental Research Funds for the Central to the working-class slums, which were packed with Universities, China University of Geosciences (Wuhan). hundreds of thousands of European immigrants, primarily Received 20 September 2012; accepted 5 December 2012 Italians, Spanish and French. In the early years of the 20th century, dancers and Abstract orchestras from Buenos Aires travelled to Europe, and Tango is the soul of Argentinean, and it is indiscerptible the first European tango craze took place in Paris, soon from Argentinean and Argentinean’s culture and followed by London, Berlin, and other capitals. Towards history. Chinese Yangge is also the soul of Chinese the end of 1913 it hit New York in the USA, and Finland. national culture. Although tango and yangge are in In the USA around 1911 the word “tango” was often different countries, they have a lot in common.
    [Show full text]
  • The Diary of a Manchu Soldier in Seventeenth-Century China: “My
    THE DIARY OF A MANCHU SOLDIER IN SEVENTEENTH-CENTURY CHINA The Manchu conquest of China inaugurated one of the most successful and long-living dynasties in Chinese history: the Qing (1644–1911). The wars fought by the Manchus to invade China and consolidate the power of the Qing imperial house spanned over many decades through most of the seventeenth century. This book provides the first Western translation of the diary of Dzengmeo, a young Manchu officer, and recounts the events of the War of the Three Feudatories (1673–1682), fought mostly in southwestern China and widely regarded as the most serious internal military challenge faced by the Manchus before the Taiping rebellion (1851–1864). The author’s participation in the campaign provides the close-up, emotional perspective on what it meant to be in combat, while also providing a rare window into the overall organization of the Qing army, and new data in key areas of military history such as combat, armament, logistics, rank relations, and military culture. The diary represents a fine and rare example of Manchu personal writing, and shows how critical the development of Manchu studies can be for our knowledge of China’s early modern history. Nicola Di Cosmo joined the Institute for Advanced Study, School of Historical Studies, in 2003 as the Luce Foundation Professor in East Asian Studies. He is the author of Ancient China and Its Enemies (Cambridge University Press, 2002) and his research interests are in Mongol and Manchu studies and Sino-Inner Asian relations. ROUTLEDGE STUDIES
    [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]
  • The Dialectics of Virtuosity: Dance in the People's Republic of China
    The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949-2009 by Emily Elissa Wilcox A dissertation submitted in partial satisfaction of the requirements for the degree of Joint Doctor of Philosophy with the University of California, San Francisco in Medical Anthropology of the University of California, Berkeley Committee in charge: Professor Xin Liu, Chair Professor Vincanne Adams Professor Alexei Yurchak Professor Michael Nylan Professor Shannon Jackson Spring 2011 Abstract The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949-2009 by Emily Elissa Wilcox Joint Doctor of Philosophy with the University of California, San Francisco in Medical Anthropology University of California, Berkeley Professor Xin Liu, Chair Under state socialism in the People’s Republic of China, dancers’ bodies became important sites for the ongoing negotiation of two paradoxes at the heart of the socialist project, both in China and globally. The first is the valorization of physical labor as a path to positive social reform and personal enlightenment. The second is a dialectical approach to epistemology, in which world-knowing is connected to world-making. In both cases, dancers in China found themselves, their bodies, and their work at the center of conflicting ideals, often in which the state upheld, through its policies and standards, what seemed to be conflicting points of view and directions of action. Since they occupy the unusual position of being cultural workers who labor with their bodies, dancers were successively the heroes and the victims in an ever unresolved national debate over the value of mental versus physical labor.
    [Show full text]
  • Chinese Romanization Table
    239 Chinese Romanization Table Common Alphabetic (CA) follows the formula “consonants as in English, vowels as in Italian,” plus æ as in “cat,” v [compare the linguist’s !] as in “gut,” z as in “adz,” and yw (after l or n, simply w) for “umlaut u.” A lost initial ng- is restored to distinguish the states of We"! !! and Ngwe"! !!, both now “We"!.” Tones are h#!gh, r$!sing, lo%w, and fa"lling. The other systems are Pinyin (PY) and Wade-Giles (WG). CA PY WG CA PY WG a a a chya qia ch!ia ai ai ai chyang qiang ch!iang an an an chyau qiao ch!iao ang ang ang chye qie ch!ieh ar er erh chyen qian ch!ien au ao ao chyou qiu ch!iu ba ba pa chyung qiong ch!iung bai bai pai chyw qu ch!ü ban ban pan chywæn quan ch!üan bang bang pang chywe que ch!üeh bau bao pao chywn qun ch!ün bei bei pei da da ta bi bi pi dai dai tai bin bin pin dan dan tan bing bing ping dang dang tang bu bu pu dau dao tao bvn ben pen dei dei tei bvng beng peng di di ti bwo bo po ding ding ting byau biao piao dou dou tou bye bie pieh du du tu byen bian pien dun dun tun cha cha ch!a dung dong tung chai chai ch!ai dv de te chan chan ch!an dvng deng teng chang chang ch!ang dwan duan tuan chau chao ch!ao dwei dui tui chi qi ch!i dwo duo to chin qin ch!in dyau diao tiao ching qing ch!ing dye die tieh chou chou ch!ou dyen dian tien chr chi ch!ih dyou diu tiu chu chu ch!u dz zi tzu chun chun ch!un dza za tsa chung chong ch!ung dzai zai tsai chv che ch!e dzan zan tsan chvn chen ch!en dzang zang tsang chvng cheng ch!eng dzau zao tsao chwai chuai ch!uai dzei zei tsei chwan chuan ch!uan dzou
    [Show full text]
  • The Accordion in Twentieth-Century China A
    AN UNTOLD STORY: THE ACCORDION IN TWENTIETH-CENTURY CHINA A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC AUGUST 2004 By Yin YeeKwan Thesis Committee: Frederick Lau, Chairperson Ricardo D. Trimillos Fred Blake ©Copyright2004 by YinYeeKwan iii ACKNOWLEDGEMENTS My 2002 and 2003 fieldwork in the People's Republic ofChina was funded by The Arts and Sciences Grant from the University ofHawai'i at Manoa (UHM). I am grateful for the generous support. I am also greatly indebted to the accordionists and others I interviewed during this past year in Hong Kong, China, Phoenix City, and Hawai'i: Christie Adams, Chau Puyin, Carmel Lee Kama, 1 Lee Chee Wah, Li Cong, Ren Shirong, Sito Chaohan, Shi Zhenming, Tian Liantao, Wang Biyun, Wang Shusheng, Wang Xiaoping, Yang Wentao, Zhang Gaoping, and Zhang Ziqiang. Their help made it possible to finish this thesis. The directors ofthe accordion factories in China, Wang Tongfang and Wu Rende, also provided significant help. Writing a thesis is not the work ofonly one person. Without the help offriends during the past years, I could not have obtained those materials that were invaluable for writings ofthis thesis. I would like to acknowledge their help here: Chen Linqun, Chen Yingshi, Cheng Wai Tao, Luo Minghui, Wong Chi Chiu, Wang Jianxin, Yang Minkang, and Zhang Zhentao. Two others, Lee Chinghuei and Kaoru provided me with accordion materials from Japan. I am grateful for the guidance and advice ofmy committee members: Professors Frederick Lau, Ricardo D.
    [Show full text]
  • Songliao Basin
    Songliao Basin Spread across the vast territory of China are hundreds of basins, where developed sedimentary rocks originated from the Paleozoic to the Cenozoic eras, covering over four million square kilometers. Abundant oil and gas resources are entrapped in strata ranging from the eldest Sinian Suberathem to the youngest quaternary system. The most important petroliferous basins in China include Tarim, Junggar, Turpan, Qaidam, Ordos, Songliao, Bohai Bay, Erlian, Sichuan, North Tibet, South Huabei and Jianghan basins. There are also over ten mid- to-large sedimentary basins along the extensive sea area of China, with those rich in oil and gas include the South Yellow Sea, East Sea, Zhujiangkou and North Bay basins. These basins, endowing tremendous hydrocarbon resources with various genesis and geologic features, have nurtured splendid civilizations with distinctive characteristics portrayed by unique natural landscape, specialties, local culture, and the people. In China, CNPC’s oil and gas operations mainly focus on nine petroliferous basins, namely Tarim, Junggar, Turpan, Ordos, Qaidam, Songliao, Erlian, Sichuan, and the Bohai Bay. The Songliao Basin is a large terrestrial sedimentary basin surrounded by the Greater Khingan, Lesser Khingan and Changbai mountains in Northeast China. It spans 260,000km2 across the provinces of Heilongjiang, Jilin, and Liaoning, and is crossed by the Songhuajiang and Liaohe rivers. The Songliao Basin is situated in a humid and semi-humid region in the frigid-temperate and temperate zones of China. A cold and humid forest, meadows, and grassland comprise its landscape. It is a sedimentary basin in terms of geology, having lowland landform characterized by high surroundings and a low center.
    [Show full text]