DOCSLIB.ORG

Striving to Raise Artistic Standards and Enhance Corporate Governance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Striving to Raise Artistic Standards and Enhance Corporate Governance Council Chairman Dr. Carlye W. L. Tsui expresses deep regret over the false and exaggerated allegations made by the three principals, and is surprised to learn of their meeting with the press without first seeking internal communication. The Council gives full support to the Executive Director and Artistic Director and reaffirms their indisputable merits in their capacities as directors of the Orchestra. English Version of Chinese Press Release issued on 25.1.2015 Striving to raise artistic standards and enhance corporate governance The Hong Kong Chinese Orchestra would like to respond to public statements made on 25 January 2015, by individuals who are either current or former members of the Orchestra, viz: The Hong Kong Chinese Orchestra Limited took over management of the Hong Kong Chinese Orchestra in 2001. Its Council Members, who come from the fields of music, law, marketing, accounting, finance, education, publicly-listed companies and corporate management andare broadly representative of various sectors of society, have brought with them professional experience and expertise from various trades and professions, and balanced the interests of all stakeholders. Among them, one third is appointed by the government according to the company’s constitution. The Home Affairs Bureau also has a representative in attendance at the Orchestra’s council meetings for effective supervision. The Audit Commission also carried out “value-for-money” audits in 2009, covering comprehensively all matters relating to the Orchestra’s corporate governance, main activities, human resources management and other administrative concerns, and made relevant recommendations. In a meeting with the Public Accounts Committee of the Legislative Council, representatives of the Home Affairs Bureau and the HKCO followed up on the questions raised and recommendations made in the Audit Commission’s “value-for-money” report, and all follow-up work has been completed. It is well-known that since its incorporation, the Orchestra has made tireless efforts to reform and implemented best-practice corporate governance, which earned it the Best Corporate Governance Disclosure Award and Directors Of The Year Award in 2004. The Orchestra has never ceased to increase its transparency, enhance communication and make permanent all systems according to best-practice governance principles. In fact, the allegations in questions have been raised before and dealt with; in the past few years, the Orchestra has already put them to the Home Affairs Bureau, the Secretariat of the Legislative Council, the Public Complaints Office of the Legislative Council, and individual Legislative Councillors and other government departments, that the allegations are not fact-based and the alleged inappropriate behavior non-existent. The Orchestra has always maintained good communication with the professional music sector. Internally, it has made available ready channels for complaint and appeal, and welcomed communication over matters concerning the Orchestra. In the present case, the individual members in question have not made use of this channel but have instead demanded meeting directly with the Council. The latter is flexible about their demand, and hopes that an open and sincere exchange will present the facts and clear away any misunderstandings among the parties so that the Orchestra will continue to work together in pursuit of excellence for the Orchestra. Apart from the effective supervisory measures of the Hong Kong government, the Council of the Orchestra has always managed the Orchestra with a high degree of accountability and under the principle of best practice corporate governance. The Council and the four committees under it (Finance and Audit Committee, Marketing Committee, Human Resources Committee, and Nomination committee) meet regularly to discuss in depth management and operation issues. It has the overall interest of the Orchestra as its guiding principle, and observes closely the conservation of its resources and the appropriate use of public funds. The Orchestra’s accounting has always been open to the public and is reported in its annual report, which can be accessed on its website. In order to manage the Orchestra effectively, the Council and Committees vet annually the governance handbooks of the various sections of the Orchestra, and the management supervises the daily operations of the Orchestra according to established procedures. While observing closely the principle of optimal use of public funds, the Orchestra never fails to promote Chinese music and its efforts are hailed by the music circles as well as other sectors in society. Parallel to the pursuit of excellence, the Orchestra is also aware of its social responsibility: it researches and promotes eco-friendly musical instruments, and through repeated improvements, enhances the instruments’ effectiveness and sound quality. Regarding the governance and operation of the Orchestra, all efforts are geared strictly towards promoting the interest of the Orchestra. As for human resources management, there is in place a system that stresses engaging the service of the most apt and suitable, a fair rewarding system, a human-based management style, wider opportunities for members who have achieved a higher level of performance, and suitable re-deployment for veteran members whose performance is becoming less satisfactory. In line with the long-term development of the Orchestra, re-deployment is inevitable. The Orchestra has also in place strict recruitment procedures which include the commissioning of senior members in the music circle to serve as recruitment panel members under the principles of openness, fairness and impartiality. In view of Mr. Wong On-yuen’s departure from the Orchestra as from 1st September 2008 (the Chinese nomenclature for the post of “concertmaster” having been changed from “團長”to “樂團首 席”), the Council had held many in-depth discussions concerning the enhancement of the huqin section within the overall development of the Orchestra, and solicited the opinions of experts. Upon the Council’s discussions and resolution, the Orchestra began public recruitment for the post of “Huqin Principal”. Following stringent selection procedures, and after six rounds of rigorous assessment, the recruitment panel, including external professionals, selected Zhang Chongxue for the said post. (Appendix – Press Release). To align with the future development of the Orchestra, raise the artistic standards of the strings section, and reserve talent for the future post of Concertmasterof the Orchestra, the Council has discussed on many occasions the further restructuring of the string section. From 1st September 2015, the functions of the existing Gaohu Principal, Zhonghu Principal and Erhu Principal will be expanded and the posts upgraded to “Co-principal of Huqin and Gaohu Principal”, “Co-principal of Huqin and Zhonghu Principal” and “Co-principal of Huqin and Erhu Principal” respectively so as to assist the Huqin Principal in leading and managing the entire huqin section. The posts concerned have already been advertised and announced in internal circulars. Applications from current Gaohu, Zhonghu and Erhu principals, other members of the Orchestra and outsiders who qualify are welcome. Applications remain open until 31 January 2015. ------------------------------------------------------------------------------------------------------------------------------ Media Enquiries: Tracy Huang Kelly Lee Head of Marketing & Development Marketing Manager Tel: (852) 3185 1608 Tel: (852) 3185 1670 Email: [email protected] Email: [email protected] Fax: 2815 5615 HKCO Website: www.hkco.org Hong Kong Chinese Orchestra is financially supported by the Government of the Hong Kong Special Administrative Region Hong Kong Chinese Orchestra is a Venue Partner of the Hong Kong Cultural Centre .
Load more

Recommended publications
  • Download Article (PDF)
    International Conference on Education, Management and Computing Technology (ICEMCT 2015) Birth and Research of Erhu Concerto Jindi Zhang Art College, Shandong University, Weihai, 264209, China Keywords: Erhu; Concerto Abstract. Erhu concerto is a type of music which was born under integration of Chinese and western cultures. It is one of the most typical solo concertos in Chinese national musical instruments. Since the establishment of new China, Erhu concerto has developed rapidly. It gained different development in four historical periods: before the reform and opening-up, 1980s, 1990s and the 21st century. Erhu concerto generates significant influence on development of Erhu music and occupies an important position in development history of Erhu music. Birth of Erhu concerto Since the 20th century, Erhu concerto born under multi-culture development is a kind of new music expression form. It derives from European music, but is different from European music. In 1930s, Erhu divertimento The Death of Yang Yuhuan created by Russian Jewish composer AapoHABUiajiyMOB (1894-1965) consists of 6 songs and adopts the form of Erhu and symphony orchestra. This is the earliest Erhu concerto recorded in the history and originated from the melody of self-created song Evening Scene of Ynag Yuhuan in 1936. In Yearbook of Chinese Music (2002), Mr. Zheng Tisi said in his memoirs that, this works was performed in public in Shanghai Lanxin Theater. The band was Shanghai Municipal Council Orchestra. The outstanding folk music performer Mr. Wei Zhonglei took charge of Erhu solo, and the composer was responsible for commanding. Such manifestation pattern of Erhu music was certain far-sighted in the development of world music and also reflected world culture had walked out of European cultural circle and went to other developing countries.
    [Show full text]
  • Banhu Playing Techniques in Northern China Yun Meng a Thesis Submitted in Partial Fulfillment of Requirements for Degree of Doct
    Banhu Playing Techniques in Northern China Yun Meng A Thesis Submitted in Partial Fulfillment of Requirements for degree of Doctor of Philosophy in Music February 2021 Copyright of Mahasarakham University เทคนิคการบรรเลงของซอบา่ นหู ในภาคเหนือ ของประเทศจีน วิทยานิพนธ์ ของ Yun Meng เสนอต่อมหาวทิ ยาลยั มหาสารคาม เพื่อเป็นส่วนหน่ึงของการศึกษาตามหลกั สูตร ปริญญาปรัชญาดุษฎีบัณฑิต สาขาวิชาดุริยางคศิลป์ กุมภาพันธ์ 2564 ลิขสิทธ์ิเป็นของมหาวทิ ยาลยั มหาสารคาม Banhu Playing Techniques in Northern China Yun Meng A Thesis Submitted in Partial Fulfillment of Requirements for Doctor of Philosophy (Music) February 2021 Copyright of Mahasarakham University The examining committee has unanimously approved this Thesis, submitted by Mr. Yun Meng , as a partial fulfillment of the requirements for the Doctor of Philosophy Music at Mahasarakham University Examining Committee Chairman (Assoc. Prof. Wiboon Trakulhun , Ph.D.) Advisor (Asst. Prof. Sayam Juangprakhon , Ph.D.) Committee (Asst. Prof. Peerapong Sensai , Ph.D.) Committee (Asst. Prof. Khomkrit Karin , Ph.D.) Committee (Assoc. Prof. Phiphat Sornyai ) Mahasarakham University has granted approval to accept this Thesis as a partial fulfillment of the requirements for the Doctor of Philosophy Music (Asst. Prof. Khomkrit Karin , Ph.D.) (Assoc. Prof. Krit Chaimoon , Ph.D.) Dean of College of Music Dean of Graduate School D ABSTRACT TITLE Banhu Playing Techniques in Northern China AUTHOR Yun Meng ADVISORS Assistant Professor Sayam Juangprakhon , Ph.D. DEGREE Doctor of Philosophy MAJOR Music UNIVERSITY Mahasarakham University YEAR 2021 ABSTRACT The purpose of this thesis is to study the technique and application of Banhu. The purposes of this study are: 1) to examine the history of Banhu in northern China; 2) to classify banhu according to the difficulty of his playing skills; 3) to analyze selected music examples.
    [Show full text]
  • Orchestrating the World - a Manualvico of Intercultural Music Making
    Orchestrating the World - a manualVICO of intercultural music making by Moshe Denburg Copyright and Fair Use Notification SAMPLE The author does not object to the use of these materials for personal educational purposes or for any fair use, such as quoting or citing these materials, as long as their authorship is credited by the user. Making copies of these materials as part of any commercial venture, or for any monetary reward, or reproducing the materials for public use, requires the written consent of the author. All reasonable requests will be honoured. © VICO, 2017 Erhu Description The Erhu is a bowed two-stringed instrument. It has a long round neck of hardwood attached to a hardwood resonator, usually covered with snakeskin. Its steel strings are tensioned between the tuning pegs at the neck's upper end,VICO and the lower edge of the resonating box. The speaking length of the string extends from a nut at the peg end of the neck to a bridge placed upon the resonator. The horsehair bow, rosined on both sides, is inserted between the strings, and the strings are played one at a time, virtually never together. The player fingers the strings not by pressing them against the neck but by placing them on the strings lightly, to create different speaking lengths. Tuning d1 - a1 Scordaturas and Extensions 1 1 1 1 In the Erhu db - ab and c -g scordaturas are possible, but an oversize instrument may render lower pitches better. Erhus with extensions are being made, but they are not yet common (as of 2004).
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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♭.
    [Show full text]
  • The Erhu and Its Role As a Vehicle for Syncretic Music Performance in Singapore
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. THE ERHU AND ITS ROLE AS A VEHICLE FOR SYNCRETIC MUSIC PERFORMANCE IN SINGAPORE A thesis subm itted in fulfil lment of the requirements fo r the degree of Master of Philosophy in Music at Wellington Conservatorium of M usic Massey University, Wellington. New Zealand L-=ok Lay Hong May 2004 ABSTRACT This thesis examines the erhu, a bowed lute from China and its development as a vehicle for syncretic music-making in Singapore. Chapter One considers the erhu 's status in Chinese culture and focuses on the differences between how the erhu was perceived by the "proletariat" of the early twentieth century contrasted with the imperialists of that time. A central assumption in this study is that erhu music-making in Singapore is inextricably bound with the traditions of both Western and Chinese culture. This concept is introduced in Chapter Two, with a discussion on musical syncretism. The erhu is a member of the huqin string family and is one instrument in the new ensemble idiom of the Singapore Huqin Quartet. This ensemble is the first to have huqin set up together in the manner of a Western string quartet. This ensemble has been influential on and contributes to a broad range of musical happenings in Singapore. It also represents one development of erhu as "world music".
    [Show full text]
  • Innovation and Reform of the Hammered Dulcimer Yangqinin Contemporary China
    UNIVERSITY OF HAWAII LIBRARY. INNOVATION AND REFORM OF THE HAMMERED DULCIMER YANGQININ CONTEMPORARY 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 2007 By Pui-Sze Priscilla Tse Thesis Committee: Frederick Lau, Chairperson Ricardo D. Trimillos C. Fred Blake • .. ~- -, _ .... _ •• _-- - ~-'"'~~- < .1 We certify that we have read this thesis and that, in our opinion, it is satisfactory in scope and quality as a thesis for the degree of Master of Arts in Music. THESIS COMMITTEE Chairperson HAWN CBS .H3 nO ' 7~2'1 1\ ACKNOWLEDGEMENTS I am grateful to the AsialPacific Ethnomusicology Fellowship and the Arts and Sciences Advisory Council from the University of Hawai'i at Manoa for their generous support for my graduate study and fieldwork carried out in China and Hong Kong in summer 2006. This study would not have happened without the generous help of my informants in both formal and informal interviews. They include Bian Yu, Fu Bing, Oui Xiii, Huang Jinpei, Kong Qinyan, Bryan Lai, Xiong Junjie, Xu Xuedong, Yu Qiwei, Zhang Oaoxiang, Zhang Shicheng, and Zhou Hui. Although I am not able to name them individually, I am also grateful to the musicians I met in the amateur music groups in Shanghai and Canton. My special thanks go to my yangqin teachers Miss Yu Mei-lai, Professor Liu Yuening, and Professor Xiang Zuhua, who nurtured me to be ayangqin performer by not only teaching me the performing techniques, but also by providing me with the fundamental knowledge of the instrument and its music that have contributed to this thesis.
    [Show full text]
  • Test 7: Final Crossword - Chinese Musical Instruments
    10 Test 7: Final Crossword - Chinese Musical Instruments 1 2 3 4 5 6 7 8 9 10 11 12 13 Across: Down: 2 The English word for SHENG 1 Chinese seven-stringed-zither 5 One categorie of the ancient Chinese system 3 Dynasty in China with rich development of cultural for musical instruments (stringed instruments) forms of expression, music instruments and 7 Metal gong with a sound bending upwards ensembles 8 Other name of the flower-drum 4 Province in China, where the first BIAN ZHONG was found in a tomb 9 Shape of the YUE QIN 6 Stone chime instruments 10 The contrabass instrument in a Chinese 9 Wooden fish in front of Chinese Buddhist temples or orchestra on the left side of the altar 12 Racket with a big bell at the right side of the 11 Main material of Chines flute instruments entrance of Chinese Buddhist temples 13 The animal, which gives the skin for the ER HU 9 Test 6: Mixed Questions: Chinese Idiophones and Membranophones 1. In which Chinese province did researchers find the eldest Chinese membranophone? a) Yunnan b) Henan c) Anhui 2. Which type of LION DANCE DRUM can you identify in the PowerPointPresentation? a) The "southern" type b) The "northern" type c) The "eastern" type 3. Stone-chimes played in ancient China were played during... a) banquets b) ceremonies c) temple services d) birthdays 4. The BIAN ZHONG originates from the following dynasty: a) HAN b) ZHOU c) MING d) SHANG 5. How many octaves can we find in the BIAN ZHONG? a) six b) three c) five d) four 6.
    [Show full text]
  • Bowed Stringed Instruments
    Bowed Stringed Instruments Fig. 9.1: The Erhu Fig. 9.2: Qintong 90 Bowed Stringed Instruments 9 二胡 Erhu HISTORY Without a doubt, the 二胡 erhu (Fig. 9.1) is the chief bowed stringed instrument in the Chinese orchestra. Characterised by its versatile playing technique, the erhu, which is often associated with sorrow, is capable of producing the most heart-wrenching sounds. The two-stringed fiddle is termed 二 er (second) 胡 hu (fiddle) as it plays secondary roles to many instruments (e.g. second to the 板胡 banhu in Northern music, second to the 京胡 jinghu in Peking opera, second to the 高胡 gaohu in Cantonese music etc). The instrument comprises a 琴筒 qintong (instrumental body) (Fig. 9.2), 琴杆 qingan (instrumental stem), 琴轴 qinzhou (tuning pegs) (Fig. 9.3), 琴弦 qinxian (strings), 千斤 qianjin (Figs. 9.4 & 9.5), 琴马 qinma and 琴弓 qingong (bow). This usually homophonic instrument is played with a bow which is trapped in between the instrument’s two strings (Fig. 9.6). The bow is usually made of bamboo and horsehair (Fig. 9.7). The rosin-lathered horsehairs’ movement against the strings produces soul-stirring sounds through left-right bowing actions. The absence of a fingerboard renders the instrument’s pitch more difficult to control when bowing, but at the same time allows the instrument to have greater gradations in tone and a richer palette of tone colours. The erhu belongs to the 胡琴 huqin (the generic term for bowed stringed instruments) family, and it was only in the early 1900s that the erhu was developed and standardised.
    [Show full text]
  • The Use of Chinese National Musical Instruments in Western Orchestras
    2021 4th International Conference on Interdisciplinary Social Sciences & Humanities (SOSHU 2021) The Use of Chinese National Musical Instruments in Western Orchestras Wei LUO Dankook University,China Korea, Yongin city, suji-gu, Yongin city, Korea Keywords: Chinese national musical instruments, western orchestra, concerted performance Abstract: The use of Chinese national musical instruments in Western orchestras is an innovative approach to implanting Chinese national musical instruments in Western orchestras. From a practical point of view, it has achieved good artistic effects and reflects a multicultural background. The integration of different national musical instruments and western orchestras has also opened a new window of art for Chinese national musical instruments to the world. 1. Introduction The use of Chinese national musical instruments in Western orchestras was first an innovative musical art form tried by the Chinese. With Chinese cultural elements, especially in the interpretation of national customs, Chinese national musical instruments have unique artistic expression. Welcomed by artists from all over the world, in this sense, the addition of national musical instruments to the Western orchestra highlights the diversity of orchestral orchestration music, enriches the acoustic performance, and promotes the need for orchestral orchestration to play "Chinese style" Artistic attributes. At the same time, with the continuous attempts and fusion of the two in musical performances, the western orchestral music has become more artistically viable, and it has the characteristics of the world's multi-ethnic musical instrument integration, which is an important art for the future development of Chinese music The innovation of form has strengthened the appeal of national musical instruments, and at the same time strengthened the expressive power of western orchestral music, opening up a new platform for the development of western orchestral and national musical instruments.
    [Show full text]
  • The Hong Kong Chinese Orchestra Announces Programming of the 40Th Anniversary Season and New Appointments
    24.6.2017 (Immediate Release) The Hong Kong Chinese Orchestra announces programming of the 40th Anniversary Season and New Appointments The Hong Kong Chinese Orchestra was founded in 1977 and came under the management of the Council of the Hong Kong Chinese Orchestra Ltd., in 2001. It is armed with the mission of promoting Chinese music culture in Hong Kong and the world through performance, popularization of the genre, professional music training and education, academic research, professional competitions, as well as research and development of musical instruments. With a history of forty years, the Orchestra has been growing in tandem with its home base of Hong Kong. To celebrate the monumental ‘forty years’ mark, the Orchestra has started organizing themed events and activities that straddle two orchestral seasons since last year. During 2016, it hosted the Chinese Music Without Bounds International Composers’ Summit and International Composition Competition, held an exhibition on music scores, and initiated a revival of valuable recordings made by the Orchestra in the past. They are followed by equally impressive programmes this year, such as the Third International Conducting Competition for Chinese Music, Hong Kong International Youth Chinese Music Festival, as well as several innovatively curated concerts. (See ‘Message from the Artistic Director’ in the Hong Kong Chinese Orchestra 40th Anniversary Season Brochure attached.) Led by the music directors of the Orchestra over the years – Ng Tai-kong, Kuan Nai-chung, Henry Shek et al – the Orchestra has grown in leaps and bounds. Mr Ricky W. K. Li, Chairman of the Council, says this to say about the current Artistic Director and Principal Conductor, “Mr Yan Huichang joined the Hong Kong Chinese Orchestra in 1997.
    [Show full text]