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Singapore Chinese Orchestra Instrumentation Chart
Singapore Chinese Orchestra Instrumentation Chart 王⾠威 编辑 Version 1 Compiled by WANG Chenwei 2021-04-29 26-Musician Orchestra for SCO Composer Workshop 2022 [email protected] Recommendedabbreviations ofinstrumentnamesareshown DadiinF DadiinG DadiinA QudiinBb QudiinC QudiinD QudiinEb QudiinE BangdiinF BangdiinG BangdiinA XiaodiinBb XiaodiinC XiaodiinD insquarebrackets ˙ ˙ ˙ #˙ ˙ ˙ #˙ ˙ ˙ 2Di ‹ ˙ ˙ ˙ ˙ #˙ [Di] ° & ˙ (Transverseflute) & ˙ ˙ ˙ ˙ ¢ ˙ ˙ ˙ ˙ b˙ ˙ ˙ ˙ s˙ounds 8va -DiplayerscandoubleontheXiaoinForG(samerangeasDadiinForG) -ThischartnotatesmiddleCasC4,oneoctavehigherasC5etc. #w -WhileearlycompositionsmightdesignateeachplayerasBangdi,QudiorDadi, -8va=octavehigher,8vb=octavelower,15ma=2octaveshigher 1Gaoyin-Sheng composersareactuallyfreetochangeDiduringthepiece. -PleaseusethetrebleclefforZhonghupartscores [GYSh] ° -Composerscouldwriteonestaffperplayer,e.g.Di1,Di2andspecifywhentousewhichtypeofDi; -Pleaseusethe8vbtrebleclefforZhongyin-Sheng, (Sopranomouthorgan) & ifthekeyofDiislefttotheplayers'discretion,specifyatleastwhetherthepitchshould Zhongyin-GuanandZhongruanpartscores w soundasnotatedor8va. w -Composerscanrequestforamembranelesssound(withoutdimo). 1Zhongyin-Sheng -WhiletheDadiandQudicanplayanother3semitonesabovethestatedrange, [ZYSh] theycanonlybeplayedforcefullyandthetimbreispoor. -ForeachkeyofDi,thesemitoneabovethelowestpitch(e.g.Eb4ontheDadiinG)sounds (Altomouthorgan) & w verymuffledduetothehalf-holefingeringandisunsuitableforloudplaying. 低⼋度发⾳ ‹ -Allinstrumentsdonotusetransposednotationotherthantranspositionsattheoctave. -
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. -
Three Millennia of Tonewood Knowledge in Chinese Guqin Tradition: Science, Culture, Value, and Relevance for Western Lutherie
Savart Journal Article 1 Three millennia of tonewood knowledge in Chinese guqin tradition: science, culture, value, and relevance for Western lutherie WENJIE CAI1,2 AND HWAN-CHING TAI3 Abstract—The qin, also called guqin, is the most highly valued musical instrument in the culture of Chinese literati. Chinese people have been making guqin for over three thousand years, accumulating much lutherie knowledge under this uninterrupted tradition. In addition to being rare antiques and symbolic cultural objects, it is also widely believed that the sound of Chinese guqin improves gradually with age, maturing over hundreds of years. As such, the status and value of antique guqin in Chinese culture are comparable to those of antique Italian violins in Western culture. For guqin, the supposed acoustic improvement is generally attributed to the effects of wood aging. Ancient Chinese scholars have long discussed how and why aging improves the tone. When aged tonewood was not available, they resorted to various artificial means to accelerate wood aging, including chemical treatments. The cumulative experience of Chinese guqin makers represent a valuable source of tonewood knowledge, because they give us important clues on how to investigate long-term wood changes using modern research tools. In this review, we translated and annotated tonewood knowledge in ancient Chinese books, comparing them with conventional tonewood knowledge in Europe and recent scientific research. This retrospective analysis hopes to highlight the practical value of Chinese lutherie knowledge for 21st-century instrument makers. I. INTRODUCTION In Western musical tradition, the most valuable musical instruments belong to the violin family, especially antique instruments made in Cremona, Italy. -
Study on the Professional Qualities of Suona Musicians in National Orchestras and Chamber Music
2020 International Conference on Education, Management, Business and Economics (ICEMBE 2020) Study on the Professional Qualities of Suona Musicians in National Orchestras and Chamber Music --Some Thoughts on Suona Professional Teaching to Cultivate Students' Playing Accomplishment Lei Yan Middle School Affiliated to Tianjin Conservatory of Music, Tianjin, 300171, China Keywords: Suona musicians, National orchestras, Chamber music Abstract: For a long time in the past, in the field of suona professional education, education experts and students have paid more attention to the improvement of performance techniques and the control of the details of music processing. It can be said that contemporary suona art has passed from generation to generation of predecessors and experts and all practitioners. Under the efforts of learners and learners, it has been perfected. However, the problem that gradually emerged with the performance practice is that not all professional colleges of Suona majors can meet the performance requirements of ethnic orchestras or chamber orchestras. A considerable part of the professional music colleges' Suona professional graduates may have excellent performance skills, but in orchestras with teamwork as their primary task, various problems may occur that affect the performance level and performance of the work. The reason is that these performers have not paid enough attention to the improvement of their professional qualities in the professional learning process, so that the professional qualities are slightly missing. In the current current music vocational education process, the discussion or cultivation of playing ability has received enough sufficient attention, but for another important factor that determines the future career height of students-the professional quality of professional musicians, but there is no very systematic and standardized research or explanation. -
Ming Wang Whilst Studying Painting in the 1970'S, I Began Learning Chinese Music
A review of my experiences, and criticism of the music exchange projects Ming Wang Whilst studying painting in the 1970's, I began learning Chinese music. This was introduced to Taiwan from mainland China after the Chinese Civil War in 1949. Hence my first “great love” of this music, but it was extremely difficult to learn. Because of the political situation with mainland China the culture of this music was totally separated from its roots. We had very limited teaching material and literature, had no systematic pedagogical methodology. We were young and passionate at the time and wanted to find a solution, a future for this music. The introduction of Western Modernism was a great hope for us then, as it has often been in the history of China over the last 150 years. While my music friends founded the first revolutionary ensemble with Chinese instruments, to specialize in Taiwanese and Western contemporary music, I decided to study composition in Europe; to learn the western avant-garde, so that we could enrich Chinese music. With this goal in mind, since 1996 – during my studies - I have initiated or participated in several exchange projects between Austria and Taiwan. I try not only to present new european music in Taiwan, but also to introduce Taiwanese musicians, Chinese instruments and music to Europe. Twenty years later in the age of globalisation, I often think about whether such exchange projects really make artistic sense, or whether we have gradually lost our ideals in the workings of the music business. With a few concrete examples, I would like to give a review of my years of experience with the music exchange projects, and offer this topic for discussion. -
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. -
Chinese Zheng and Identity Politics in Taiwan A
CHINESE ZHENG AND IDENTITY POLITICS IN TAIWAN A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC DECEMBER 2018 By Yi-Chieh Lai Dissertation Committee: Frederick Lau, Chairperson Byong Won Lee R. Anderson Sutton Chet-Yeng Loong Cathryn H. Clayton Acknowledgement The completion of this dissertation would not have been possible without the support of many individuals. First of all, I would like to express my deep gratitude to my advisor, Dr. Frederick Lau, for his professional guidelines and mentoring that helped build up my academic skills. I am also indebted to my committee, Dr. Byong Won Lee, Dr. Anderson Sutton, Dr. Chet- Yeng Loong, and Dr. Cathryn Clayton. Thank you for your patience and providing valuable advice. I am also grateful to Emeritus Professor Barbara Smith and Dr. Fred Blake for their intellectual comments and support of my doctoral studies. I would like to thank all of my interviewees from my fieldwork, in particular my zheng teachers—Prof. Wang Ruei-yu, Prof. Chang Li-chiung, Prof. Chen I-yu, Prof. Rao Ningxin, and Prof. Zhou Wang—and Prof. Sun Wenyan, Prof. Fan Wei-tsu, Prof. Li Meng, and Prof. Rao Shuhang. Thank you for your trust and sharing your insights with me. My doctoral study and fieldwork could not have been completed without financial support from several institutions. I would like to first thank the Studying Abroad Scholarship of the Ministry of Education, Taiwan and the East-West Center Graduate Degree Fellowship funded by Gary Lin. -
The Program Today Is Inspired by the Elements Fire and Metal, Which Represent the Seasons of Summer and Autumn in Chinese Philosophy
The program today is inspired by the elements Fire and Metal, which represent the seasons of summer and autumn in Chinese philosophy. Taking inspiration from the transition of late summer (a season over- brimming with life and burning red-hot) to autumn (a period of harvest) Fire and Metal is a celebration of the flowering and maturing stages of life. Anchored by Pulitzer Prize winner Zhou Long’s “Five Elements: Fire and Metal,” commissioned especially for today’s concert, the program transitions from the celebratory energy of “A Hundred Birds Paying Homage to the Phoenix”—the representative animal of fire—to the deliberate rhythms of “Picking Jujube” and “The Grapes are Ripe”. Opposite, yet complementary, the elements of Fire and Metal represent the crucial, intertwined forces of blooming and maturing life. QING HOU Chicago Symphony Orchestra violinist and Chinese Fine Arts Society Artist in Residence PR O G R A M P RELUDE : G RAND F ESTIVITY AH UNDRED B IRDS P AYING H OMAGE 普 天 同 慶 TOTHE P HOENIX 百 鸟 朝 凤 罗 逸 清 by BRENT ROMAN Cheng Da Drum Team 任 同 祥 arranged by REN TONG XIANG Yazhi Guo Suona O PENING R EMARKS Amy Briggs Piano JULIE TIAO MA P ICKING J UJUBE Board President Chinese Fine Arts Society 打 枣 G OLDEN F IREBOX 郭 雅 志 arranged by Y A Z H I G U O 金 色 的 炉 台 Yuqi Deng Guzheng Yazhi Guo Suona 陈 钢 by C H E N G A N G Tao He Erhu Qing Hou Violin Yang Wei Pipa Amy Briggs Piano O NE N IGHTIN B EIJING C OLORSOF F OLK L IFE 北 京 一 夜 五 彩 民 风 陈 升 by C H E N S H E N G 郭 雅 志 by Y A Z H I G U O Yuqi Deng Guzheng Yazhi Guo Bass Suona, Xun, Dizi, -
Printer-Friendly Receipt
Printer-Friendly Receipt https://www.musicalamerica.com/news/printarticle.cfm?sid=41537&ci... Wu Man's Pipa Spotlighted with Taipei Chinese Orchestra By Clive Paget , Musical America November 12, 2018 Wu Man, pipa player extraordinaire and founding member of the Silk Road Ensemble, was named Instrumentalist of the Year by Musical America in 2013. Five years on, her Carnegie Hall mainstage appearance with the internationally acclaimed Taipei Chinese Orchestra was both a chance to hear why, and, with the orchestra presenting four representative works in their U.S. premieres, the perfect introduction to the repertoire. Forgive the digression, but for those unfamiliar with the sound and makeup of a “Chinese Orchestra,” here’s a crash course. First, there are a number of key similarities with their Western cousins, chiefly the use of cellos and double basses to create the lower string sounds, but also the inclusion of harp and a common deployment in the percussion of timpani, cymbals, and tam tam. Then there are the similar but different instruments, like the bamboo flutes (the zhongdi and the dadi ), and an array of Chinese percussion, some of it familiar perhaps from “exotic” 20th-century scores like Turandot . Lastly, there are the uniquely Chinese instruments. An array of plucked lute-like instruments that include the pipa , the liuqin , the zhongruan, and the daruan (defined by their different sizes and different numbers of strings) sit alongside hammered and plucked dulcimers and zithers like the yangqin and the guzheng , which add to the characteristically glittering mid-range sound of the orchestra. At the apex of the sound sit the erhus , a phalanx of gentle two-string fiddles (held on the lap and bowed low down) that essentially take the place of violins and violas. -
Acmr V21n1 2015.Pdf
ACMR Newsletter http://acmr.info/ Association for Chinese Music Research 中國音樂研究會通訊 MembershipVolume 21, numberDues 1 June 2015 MESSAGE FROM THE PRESIDENT It is my great honor to welcome you to the spring 2015 issue of ACMR Newsletter as the new president of ACMR. I would like to take this opportunity to thank our outgoing president Lei Ouyang Bryant for her leadership over the past three years. Special thanks also go to Charlotte D’Evelyn for her many years of work as secretary. ACMR has continued to grow in recent years, thanks to the dedication of past and present officers, as well as your continued support. We had a great meeting in Pittsburgh last November, with two perfor- mance presentations by members Po-wei Weng (on Beijing opera percussion) and Yuan-Yu Kuan (on erhu playing in Jiangnan sizhu). Slightly over a dozen of us also enjoyed a Chinese dinner at Sichuan Gourmet in Squirrel Hill, Pittsburgh before the meeting. The Rulan Chao Pian Prize for the best article on Chinese Music and the Barbara Barnard Smith Chuen-Fung Prize for the best student paper on Chinese music were also presented Wong at the meeting. We will continue to explore creative formats for future ACMR meetings, and, as always, we welcome your input. ACMR officers have been busy working on a number of matters, including applying for non-profit status, developing an online membership renewal system, creating a new format for ACMR Newslet- ter, and enrolling our two publications, ACMR Reports and ACMR Newsletter, in a new RILM online Inside this issue: music journals collection, among others. -
Shanghai Chinese Orchestra, Zhejiang Shaoju Opera to Perform Little Ants Kunqu Opera Art Troupe Will Also Perform During January 30 Concert
FOR IMMEDIATE RELEASE JANUARY 8, 2020 Shanghai Chinese Orchestra, Zhejiang Shaoju Opera to perform Little Ants Kunqu Opera Art Troupe will also perform during January 30 concert MUSCATINE, Iowa – For the fifth consecutive year, Muscatine will be among just a handful of communities throughout the United States that will mark the celebration of the Chinese Lunar New Year with performances from three renowned groups from China. This highly energetic and enjoyable event, one of the must go to events of the winter, will be held at 7 p.m. on Thursday, January 30, 2020 in the auditorium at Muscatine High School, 2705 Cedar Street, Muscatine. The Shanghai Chinese Orchestra, Little Ants Kunqu Opera Art Troupe, and the Zhejiang Shaoju Opera Theatre will present a rare opportunity to experience a celebration of Chinese culture that is not to be missed. A dazzling combination of traditional and modern Chinese music, vocal artistry, costumes, and acrobatics will delight all in attendance. This is the fifth straight year that Muscatine has hosted a Chinese New Year’s concert and is, once again, made available free to the public. Muscatine is the fourth stop for the Shanghai Chinese Orchestra and the Zhejiang Shaoju Opera Theatre who will perform at the Kennedy Center in Washington, D.C., on January 22, in the Chicago Symphony Center, home of the Chicago Symphony Orchestra., on Jan. 26 and in Orchestra Hall of the Max M. & Marjorie S. Fisher Music Center, home of the Detroit Symphony Orchestra, on Jan. 28. The group will also perform in the Segerstrom Center for the Arts in Costa Mesa, Calif., on Feb. -
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Advances in Social Science, Education and Humanities Research, volume 310 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019) Research on the Inheritance and Development of Sichuan Qingyin* Ya Zhang College of Music Sichuan Normal University Chengdu, China Abstract—Taking the inheritance of Sichuan Qingyin as the research object, this paper explores how to inherit and carry II. THE CHANGE OF INHERITANCE WAY forward Sichuan Qingyin in today's society through the analysis Since the Qing Dynasty, Sichuan Qingyin has undergone of its inheritance mode, purpose, change of songs and change of many social changes, such as the 1911 Revolution, the May audience groups. 4th Movement and the War of Resistance against Japan. Some amateurs started full time to make ends meet. They either took Keywords—Sichuan Qingyin; contemporary environment; cultural inheritance a family as a team, or combine freely as a team, or "adopting girls" wandering in major cities and towns, known as "family group" and "nest group". At first, apprentices came to master I. INTRODUCTION to learn art. Masters used the method of oral and heart-to-heart Sichuan Qingyin prevailed during the reign of Qianlong in teaching. Masters taught and sang one phase orally, and the Qing Dynasty. It centered on Luzhou and Xufu, and spread apprentices imitated and sang one phase along. Although this all over towns and villages. Originally known as pipa singing way of inheritance is primitive, the master could teach and yueqin singing, it is a traditional form of music in Sichuan. apprentices personally. The apprentice could master the It has both the name of elegance and the meaning of Qingyin.