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A Selective Study on Chinese Art Songs After 1950
Graduate Theses, Dissertations, and Problem Reports 2021 A Selective Study on Chinese Art Songs after 1950 Gehui Zhu [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Zhu, Gehui, "A Selective Study on Chinese Art Songs after 1950" (2021). Graduate Theses, Dissertations, and Problem Reports. 8287. https://researchrepository.wvu.edu/etd/8287 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. A Selective Study on Chinese Art Songs after 1950 Gehui Zhu A Doctoral Research Project Submitted to College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Voice Performance Hope Koehler, D.M.A, Committee Chair and Research Adviser William Koehler, D.M.A Matthew Heap, Ph.D. Victor Chow, Ph.D. School of Music Morgantown, West Virginia 2021 Keywords: Chinese Art Songs after 1950, Contemporary Chinese Art Songs, Chinese Poems, Chinese Art Songs for Classical Singers. -
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. -
Salar Music and Identity: a "Sad" Sound a Master's Thesis Submitted to the Graduate Faculty Liberty University By
SALAR MUSIC AND IDENTITY: A "SAD" SOUND A MASTER'S THESIS SUBMITTED TO THE GRADUATE FACULTY LIBERTY UNIVERSITY BY ELIZABETH RUTH KEATING IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY December 8, 2016 Copyright 2016 by Elizabeth Keating CONTENTS TABLE OF CONTENTS ............................................................................................................. ii ILLUSTRATIONS ........................................................................................................................ v Chapter I: Introduction ................................................................................................................ 1 Why Research ..................................................................................................................... 1 Statement of the Problem ........................................................................................ 2 Need for the Study ................................................................................................... 3 Research Questions ............................................................................................................. 4 Limitations and Assumptions of the Study ......................................................................... 5 Chapter II: Literature Review ..................................................................................................... 7 Introduction ........................................................................................................................ -
Sacred Right Defiled: China’S Iron-Fisted Repression of Uyghur Religious Freedom
Sacred Right Defiled: China’s Iron-Fisted Repression of Uyghur Religious Freedom A Report by the Uyghur Human Rights Project Table of Contents Executive Summary...........................................................................................................2 Methodology.......................................................................................................................5 Background ........................................................................................................................6 Features of Uyghur Islam ........................................................................................6 Religious History.....................................................................................................7 History of Religious Persecution under the CCP since 1949 ..................................9 Religious Administration and Regulations....................................................................13 Religious Administration in the People’s Republic of China................................13 National and Regional Regulations to 2005..........................................................14 National Regulations since 2005 ...........................................................................16 Regional Regulations since 2005 ..........................................................................19 Crackdown on “Three Evil Forces”—Terrorism, Separatism and Religious Extremism..............................................................................................................23 -
Analysis of the Music and Cultural Relationship of "Mountain Flower" in Liupan Mountain of Ningxia
Advances in Social Science, Education and Humanities Research, volume 105 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2017) Analysis of the Music and Cultural Relationship of "Mountain Flower" in Liupan Mountain of Ningxia Xiangyong Zhang Music and Dance Academy, Northern University for Nationalities, Yinchuan, China Keywords: Liupan Mountain, mountain flowers, music, culture. Abstract. Liupan Mountain "Mountain flower" is a kind of high-rise folk song popular in the southern part of Ningxia, due to the long history of multi-ethnic, multi-cultural social environment and Ningxia unique geographical style, Liupan Mountain "Mountain flower" to grow and develop. "Mountain flowers" in the music structure has obvious national characteristics, is the local ethnic groups is the culture in the continuous running after the concrete embodiment, and Ningxia region social environment, historical background, traditional customs, living habits are inseparable. This paper analyzes the musical characteristics and cultural characteristics of "Mountain flower" by analyzing the music characteristics and structural characteristics of "Mountain flower" in Liupan Mountain, and explored the music connotation and cultural heritage of "Mountain flower" in Liupan Mountain, and explored the relationship between music and culture of "Mountain flower" of the relationship, is conducive to Liupan Mountain "Mountain flower" the world of intangible cultural heritage protection and heritage. 1. Introduction Flowers, commonly known as "mountain song", "wild song", is singing in the wild a high-end folk songs, full of rich flavor of life, although its birthplace in Gansu Linxia, but spread throughout the northwest plateau, and with the local Cultural integration, the formation of distinctive schools, such as Gansu's "Hezhou flowers", "Lotus flowers", Qinghai, "Qinghai flowers" and so on, Liupan Mountain "Mountain flowers" is one of the unique genre of high-chamber folk songs [1]. -
Uyghur Art Music and the Ambiguities of Chinese Silk Roadism
political projects of modern times. Uyghur Art Music and the After Russian and Qing expansion divided Central Eurasia into Ambiguities of Chinese discrete empires in the eighteenth and nineteenth centuries, their * Silk Roadism in Xinjiang twentieth-century successor states hardened the border James A. Millward between Chinese and Soviet Georgetown University, Central Asia and further sub- Washington, D. C. divided the heart of the Silk Road into peoples and lands organized The Silk Road is at once an The performers themselves, on national lines as “republics” object of scholarly inquiry, a as well as the audiences, learned and “autonomous” administrative romantic notion, and a potent much from the unprecedented units. As Theodore Levin has metaphor. Its metaphorical juxtaposition of related tradi- shown in his Central Asian impact was clear from the 2002 tions; musicians attended each musicological ethnography Ten- Summer Smithsonian Folklife other’s performances, and using thousand Fools of God, Soviet Festival in Washington DC, which whatever common languages nationality projects had a deep was devoted to Silk Road they could (mostly Turkic and and complex impact upon the cultures. The two-week event Russian) they shared songs, musics of the Central Asian was staged in a series of lavishly techniques and fellowship both republics (Levin 1996). Below, I decorated tents and pavilions on during the festival and after- explore a similar process at work the National Mall (the open hours at a local Holiday Inn. And under the PRC in Xinjiang. space between the Smithsonian over it all shone the smile of Yo- Popularity, Utility and Irony of the Museums) while Al Qaeda Yo Ma, whose intellectual and Silk Road Notion in China terrorism, the on-going Afghan musical contribution to the war, and the crescendoing festival was great, and whose Though the Silk Road idea has campaign for war against Iraq own Silk Road Ensemble proved popular in many places, were not far from anyone’s mind. -
Two Generations of Contemporary Chinese Folk Ballad Minyao 1994-2017
Two Generations of Contemporary Chinese Folk Ballad Minyao 1994-2017: Emergence, Mobility, and Marginal Middle Class A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC July 2020 By Yanxiazi Gao Thesis Committee: Byong Won Lee, Chairperson Frederick Lau (advisor) Ricardo D. Trimillos Cathryn Clayton Keywords: Minyao, Folk Ballad, Marginal Middle Class and Mobility, Sonic Township, Chinese Poetry, Nostalgia © Copyright 2020 By Yanxiazi Gao i for my parents ii Acknowledgements This thesis began with the idea to write about minyao music’s association with classical Chinese poetry. Over the course of my research, I have realized that this genre of music not only relates to the past, but also comes from ordinary people who live in the present. Their life experiences, social statuses, and class aspirations are inevitably intertwined with social changes in post-socialist China. There were many problems I struggled with during the research and writing process, but many people supported me along the way. First and foremost, I am truly grateful to my advisor Dr. Frederick Lau. His intellectual insights into Chinese music and his guidance and advice have inspired me to keep moving throughout the entire graduate study. Professor Ricardo Trimillos gave frequent attention to my academic performance. His critiques of conference papers, thesis drafts, and dry runs enabled this thesis to take shape. Professor Barbara Smith offered her generosity and support to my entire duration of study at the University of Hawai'i at Mānoa. -
China and the West: Music, Representation, and Reception
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Revised Pages China and the West Revised Pages Wanguo Quantu [A Map of the Myriad Countries of the World] was made in the 1620s by Guilio Aleni, whose Chinese name 艾儒略 appears in the last column of the text (first on the left) above the Jesuit symbol IHS. Aleni’s map was based on Matteo Ricci’s earlier map of 1602. Revised Pages China and the West Music, Representation, and Reception Edited by Hon- Lun Yang and Michael Saffle University of Michigan Press Ann Arbor Revised Pages Copyright © 2017 by Hon- Lun Yang and Michael Saffle All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2020 2019 2018 2017 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Names: Yang, Hon- Lun, editor. | Saffle, Michael, 1946– editor. Title: China and the West : music, representation, and reception / edited by Hon- Lun Yang and Michael Saffle. Description: Ann Arbor : University of Michigan Press, 2017. | Includes bibliographical references and index. Identifiers: LCCN 2016045491| ISBN 9780472130313 (hardcover : alk. -
Xinjiang: China’S Pre- and from the Editor Post-Modern Crossroad Xinjiang, the Focus of Several Explore the City
Volume 3 Number 1 June 2005 “The Bridge between Eastern and Western Cultures” In This Issue • Xinjiang: China’s Pre- and From the Editor Post-Modern Crossroad Xinjiang, the focus of several explore the city. As Bloch tells it, • Uyghur Art Music and Chinese contributions to this issue, hardly when he asked his companion Silk Roadism needs to be introduced to where they should begin, readers of The Silk Road. While Pirenne responded, “If I were an • Polychrome Rock Paintings in the designation Xinjiang is a antiquarian, I would have eyes the Altay Mountains modern one, the territory only for old stuff, but I am a • Viticulture and Viniculture in the occupied by today’s Xinjiang- historian. Therefore, I love life.” Turfan Region Uighur Autonomous Region in Bloch then adds, “This faculty of China embraces the earliest understanding the living is, in • Annotated Bibliography of history of exchange in and across very truth, the master quality of Xinjiang and Adjoining Inner Asia. That framing of the the historian.” [The Historian’s Regions region as an administrative unit Craft, 1953 ed., p. 43] • has to be considered rather Bactrian Camels and Bactrian- It is appropriate then that the Dromedary Hybrids artificial though in view of its vast size and its geographic and first of our contributions to this • The Khataynameh of Ali Akbar ethnic diversity. Whatever the issue is Dru Gladney’s impressive modern political myths and overview of a broad span of Next Issue realities, Xinjiang was never Xinjiang’s history, bringing the really a unified territory story down to the “post-modern” • Connie Chin on Buddhist sites historically. -
China Vocal Competition.Pdf
Charter of the Sixth China International Vocal Competition (Ningbo) (October 20-31, 2014, Ningbo, China) I. General Rules: The 6th China International Vocal Competition (Ningbo), under the auspices of the Ministry of Culture of the PRC will be held from October 20 th to October 31 st , 2014 in Ningbo, China. The Organizing Committee of the China International Vocal Competition (hereinafter referred to as the Organizing Committee) shall organize and manage the competition. Radio and television broadcasts, recording, videotaping and internet publication of the performances and the Gala Concert are under the exclusive administration of the Organizing Committee. The copyrights of the audio-visual products as well as their derivatives shall rest with the Organizing Committee and no payment will be made to the competitors. II.Application 1. Singers of all nations, male and female, aged from 18 to 36 (born before the 19 th of October 1996 and after October 20 th of 1978) are eligible to apply. 2. The applicants shall submit the following information in either English or Chinese: (1) An Application Form, download through website (www.civc.com) (2) Three recent half-length photos (4x5cm) and two performing photographs (8x10 cm) suitable for publicity. (3) A photocopy of the applicant’s ID card or passport. (4) A resume. (5) Graduation certification (photo copy) or a student certification. (6) One recommendation letter from one music teacher. (7) Recent audition recording (in the form of cassette tape, video tape, CD or DVD) of two operatic arias and one art song sung by the applicant, the repertoire is at the applicants own choice. -
From the Margins to the Centre: the Uyghur Challenge in Beijing* Nimrod Baranovitch
From the Margins to the Centre: The Uyghur Challenge in Beijing* Nimrod Baranovitch ABSTRACT Recent literature on Uyghur identity in China makes clear that Uyghurs today not only have perceptions and narratives relating to their identity which challenge official ones, but also that these are expressed publicly in literature, art and everyday practice. However, to date this agency has been highlighted only in the context of the Uyghurs’ native-place, Xinjiang, while the little that has been written on representations of Uyghur identity in nationally distributed media and culture suggests that Uyghurs are still completely marginalized and voiceless. This article challenges this view by shifting the focus to Uyghurs who migrated to Beijing and by showing that they have been able to achieve an independent public voice that extends not only beyond Xinjiang but also beyond China. The article explores the role that Uyghur artists and entrepreneurs, and Xinjiang restaurants in Beijing play in challenging the orthodox representations of Uyghur identity in China and argues that although there are only a few thousand Uyghurs in the city they play a significant role in the negotiation of Uyghur identity, representation and nationalism. The article also challenges the widely held view that internal migrants in China are silent and politically powerless. “It would be an extremely odd and peculiar history of this part of the twentieth century if we were not to say that the most profound cultural revolution has come about as a consequence of the margins coming into representation – in art, in painting, in film, in music, in literature, in the modern arts everywhere, in politics, and in social life generally. -
New Folk Song”
ISSN 1712-8358[Print] Cross-Cultural Communication ISSN 1923-6700[Online] Vol. 8, No. 2, 2012, pp. 73-77 www.cscanada.net DOI:10.3968/j.ccc.1923670020120802.2600 www.cscanada.org Probe into the Debate on the Position of “New Folk Song” DERRIERE LES CONTROVERSE DE L’EMPLACEMENT DES NOUVELLES CHANSONS POPULAIRES ZHOU Xizheng1,* 1 Central China Normal University, Hubei, China. ZHOU Xizheng (2012). Probe into the Debate on the Position * Corresponding author. of “New Folk Song”. Cross-Cultural Communication, 8 (2), 73-77. Available from URL: http://www.cscanada.net/ Received 13 December 2011; accepted 5 April 2012. index.php/ccc/article/view/j.ccc.1923670020120802.2600 DOI: http://dx.doi.org/10.3968/j.ccc.1923670020120802.2600. Abstract The debate on the position of “new folk song” reflects The term “New folk song” has been frequently used since changes of music thoughts in the field of music creation late 1990s to early 2000s in music field, in addition, no and performance and differences in the way of its matter musicology, music creation, and vocal music have expression. The boundary between the “new folk song” been influenced by the “new folk song”. There have been and traditional folk song is the meeting of minds of new fierce arguments, discussions, and controversies on “new and old music creation. The change of singing styles of folk song” since then. The emergence of those arguments, the “new folk song” is the reflection of modern trend discussions, and controversies is closely related to current of arts in the area of music performance.